Planning I - Expanding on Ideas
Planning I - Expanding on Ideas
The story's initial ideas were about a former soldier turned mercenary, whose seen the atrocities and war crimes during the yugoslav/Balkan conflicts, this is were he contracts PTSD as he's forced to endure the pain and suffering from seeing people he had grown up with perish in the war, saving allies and seeing gruesome sights. As he struggles with the PTSD, he tries to get the mission at hand done. Another thing that brought me to the idea was the fact that I've built different environments but I haven't created a snowy environment, I believe I've only done it once. Making an entirely snowy environment will be a massive challenge and I recognise that this will help me grow in my practical skills as well as my editing skills.
Explanation:
originally, I wanted to make it purely action. Explosions, gunfights and hand to hand combat however after sitting on the original idea I had decided to expand it. Speaking with James broadened my view on the different things like the conspiracy the world governments try to cover up and get away with such as war crimes and it was from here where I thought I could craft a revised version of my story with different factors such as
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Soviet Russia - By the early 1990s, Yugoslavia’s relationship with the Soviet Union’s successor, Russia, was more a matter of memory and symbolism than formal alliance, decades earlier Tito had broken with Stalin, steering Yugoslavia into the Non-Aligned Movement, yet cultural, religious, and political affinities, especially between Serbia and Russia, lingered as the Cold War faded. As Moscow sought to reassert a measure of influence after the Soviet collapse, those residual ties took on new meaning in Western eyes. In my story’s framing, The British intelligence viewed even a loose Yugoslav-Russian alignment as a threat to the post Cold War balance in Europe, a potential bridgehead for Russian influence in the Balkans. From that perspective, London’s actions are driven less by humanitarian concern and more by a cold calculation: preventing any revival of Slavic solidarity that might slip beyond NATO’s reach. I'm planning to make this the cover up that the UK used.
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The need for obsoletes - In the story, British intervention is driven by a quiet but ruthless calculation. Yugoslavia possesses a strategic asset that threatens Western dominance if the country remains intact. Whether this asset is a sovereign financial system insulated from global markets, vast mineral reserves vital to future industries, or untapped oil at Europe’s crossroads, its true danger lies in what it represents, self-sufficiency beyond British control. Preventing Yugoslavia from leveraging this resource becomes the UK’s primary means of dismantling the government itself. To achieve this, British intelligence lied through the media, flooding public discourse with narratives of ancient ethnic hatreds and humanitarian urgency while deliberately obscuring any discussion of economic or strategic motives. Lies, exaggerations, and selective reporting ensure that no one asks what needed to be made obsolete, only why intervention was “necessary.” By the time the smoke clears, the state is fractured, the asset neutralized, and the real objective safely buried beneath a carefully constructed moral façade. The reason for this is so the uk can make or take whatever Yugoslavia had by damaging the market, the British government created a problem so it's okay to invade.
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Civil war - In the story, British strategy escalates by turning Serbians against Croatians and exploiting old grievances to spark a civil war. The conflict is presented as natural and unavoidable, even though it is quietly encouraged behind the scenes. Influence campaigns and selective diplomacy deepen mistrust, but the public story is kept simple. Serbian forces are portrayed as ruthless and singularly violent, while the wider context is stripped away. Repeated images and unchallenged reports create the impression of massacre of innocents. Over time this narrative hardens into accepted truth and recasts Serbia as a dangerous power. NATO intervention is then framed as self defence, not strategy, justified by a threat that has been carefully constructed.
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Revised Volume I:
A former soldier, hardened by war and abandoned by the country he served, now survives as a mercenary for hire. Haunted by undiagnosed PTSD, he drifts through violent contracts with mechanical precision, suppressing memories he cannot escape. When British intelligence recruits him for a covert mission, retrieving highly classified documents from a powerful foreign political figure, he accepts without hesitation. It’s just another job. But when he finally secures the files, the truth shatters him.
The documents reveal that the war he fought in was never about freedom or security. It was staged, engineered through political manipulation and manufactured threats. He and his fellow soldiers were nothing more than expendable pawns, sacrificed to justify foreign intervention and destabilize the Balkans under the guise of combating a fabricated communist uprising. The conflict had been deliberately fueled to turn communities against one another, igniting civil unrest for strategic gain.
As the weight of betrayal crashes down on him, his personal trauma collides with the political reality. The institution that trained him, used him, and discarded him now expects his silence. Faced with the truth, he must decide whether to remain the obedient weapon they shaped him to be, or confront the system that destroyed his comrades and fractured his own mind.
Planning II - Visual Language & Tone
Nighttime setting and the mood:
Planning the visual style is a crucial part of my stop motion project because it helps establish mood, atmosphere, and emotional tone. I want the animation to feel immersive, drawing the audience into the protagonist’s world. A consistent visual language allows the story’s themes of isolation, trauma, and tension to come across effectively. I recognise early that colour, lighting, and camera composition are the most important tools for communicating this mood visually, particularly in a medium like stop motion where every frame is created manually.
For the main narrative set at night, I decide to use blue tones as the dominant colour palette. Blue evokes feelings of coldness, melancholy, and mystery, which aligns perfectly with the story’s themes of PTSD, secrecy, and moral ambiguity. I experiment with different shades of blue, from muted navy to brighter cyan, to see how they influence the perceived temperature and atmosphere of each scene. This experimentation helps me find a balance between subtlety and visual clarity, ensuring the nighttime scenes feel dark and moody but not visually flat.
Lighting plays a vital role in supporting the blue colour palette. I use low intensity lights combined with coloured filters to mimic moonlight and ambient illumination. This technique allows shadows to fall naturally across characters and sets, creating depth and emphasising tension. By controlling the contrast between light and dark areas, I make certain objects or figures stand out, guiding the viewer’s attention toward key narrative elements such as weapons, documents, or facial expressions.
The choice of camera angles complements the use of blue tones and lighting. Low angle shots emphasise the power or threat of certain characters, while high angle shots reinforce the protagonist’s vulnerability. Wide shots show isolation within the environment, while closer framing captures intimate moments of tension and fear. By considering composition alongside colour and lighting, I ensure that each frame contributes to the overall mood and emotional impact of the story.
Finally, planning these visual elements early allows me to maintain consistency throughout production. Maintaining a coherent style across multiple scenes is challenging in stop motion because subtle changes in lighting or colour can break continuity. By documenting my experiments with blue tones, camera positions, and light placement, I replicate the desired effects consistently. This planning ensures that the audience experiences a visually cohesive and emotionally immersive world.
Flashbacks and PTSD:
The flashbacks and PTSD sequences require a unique visual approach to differentiate them from the main narrative. I want the audience to feel the disorientation and emotional intensity experienced by the protagonist. By separating these sequences visually, I communicate psychological stress and trauma without relying solely on dialogue. These sequences feel fragmented and surreal, reflecting the protagonist’s unstable memory and emotional state.
To achieve this, I combine cinematic visuals with dossier-style overlays, including documents, photographs, and classified files. Layering these elements allows me to show how the protagonist processes information, blending his personal trauma with the larger conspiracy of the story. The overlays act as visual metaphors for the weight of classified information, government manipulation, and moral ambiguity. This approach also lets me experiment with compositing and framing techniques, blending static images with stop motion animation.
The framing and composition of flashback sequences are carefully considered. I use tilted angles, close ups, and shallow depth of field to create a sense of unease and confusion. I want the audience to feel slightly disoriented, mirroring the protagonist’s mental state. In addition, I adjust lighting in these sequences to be harsher and more contrast-heavy than in the main narrative, emphasising the stress, fear, and intensity of the memories.
Colour also plays a critical role in these sequences. I use cooler, desaturated tones to contrast with the warmer, more naturalistic tones of the main narrative. This visual separation signals a shift in time and perspective, making it clear when the audience experiences a flashback. Occasional red or orange highlights appear to convey danger, urgency, or emotional spikes, adding drama to key moments.
Eventually, planning these sequences early allows me to integrate them seamlessly with the main story. By testing different overlay techniques, lighting setups, and camera angles, I make the PTSD scenes feel integrated rather than jarring. This careful visual planning allows me to use stop motion effectively to communicate complex psychological themes while maintaining narrative clarity.
Harsh Lighting for Snowy Setting:
Harsh lighting is essential for creating the snowy outdoor scenes in the story. I want these moments to feel cold, stark, and unforgiving, reflecting both the physical environment and the protagonist’s psychological tension. By planning the lighting carefully, I reinforce the narrative and mood without relying on dialogue or exposition. Snowy scenes also allow me to experiment with reflections and shadows, which enhance visual interest.
To create this effect, I position lights at strong angles to cast long shadows and define edges, giving a sense of texture to the snow and environment. The high contrast between light and dark areas creates dramatic tension and highlights the danger and isolation of these scenes. By manipulating light intensity, I simulate moonlight or artificial illumination, adding realism while maintaining a cinematic style.
Colour temperature is also considered in these scenes. I use cooler white lights to replicate the natural feel of snow at night, while occasional warmer lights highlight points of focus, such as weapons or faces. This balance allows me to maintain a cold atmosphere while ensuring key narrative elements are visible. These lighting choices contribute to a heightened sense of suspense and urgency during action sequences.
Camera placement and angles reinforce the harsh lighting. Low angles emphasise the power of looming threats, while high angles highlight the vulnerability of the protagonist against the environment. Close-ups on objects or character expressions make the audience feel the intensity of the moment, while wide shots convey the isolation and scale of the snowy landscape. The combination of lighting and camera choices creates a visually striking effect.
Planning harsh lighting in advance also allows me to experiment with low-budget alternatives. I test practical solutions such as reflective surfaces, foil, and translucent materials to simulate snow and diffuse light. These experiments help me achieve professional looking results while keeping costs low, demonstrating that creative problem-solving overcomes budgetary limitations in stop motion production.
Low Cost Materials for Lighting:
Experimenting with low cost materials is a key part of developing the visual style. I use translucent wrappers, coloured plastic sheets, and other household items to create tints and filters for my lighting setup. These materials allow me to introduce blue tones, cold whites, and other atmospheric colours without needing expensive gels or professional lighting equipment. Testing different materials helps me understand how light interacts with surfaces and how to manipulate shadows effectively.
Using these materials also encourages creativity in problem solving. By layering multiple translucent sheets, I adjust the intensity and hue of a light source precisely. I diffuse harsh light or create subtle gradients, adding depth and realism to each frame. This approach allows me to experiment freely without worrying about wasting expensive resources or equipment.
In addition to cost efficiency, using household materials gives me greater flexibility on set. I can quickly adjust lighting effects between shots, test different angles, and make changes without interrupting production. This adaptability is essential in stop motion, where minor adjustments dramatically impact the final result. It also allows me to experiment with unconventional techniques, like projecting shadows or patterns across the set, adding visual interest.
Finally, working with low cost lighting materials reinforces the overall aesthetic of the animation. By embracing the limitations of budget and scale, I create a distinctive style that feels intentional rather than constrained. The combination of creative lighting, tints, and practical solutions enhances the visual storytelling, allowing the mood and tone to reflect the protagonist’s emotional state effectively.
Camera Angles and Composition:
Camera angles and composition are necessary in shaping the visual language of the project. I experiment with low angle shots to make certain characters appear more threatening or powerful, emphasising the danger and tension of the narrative. High angle shots create vulnerability, particularly for the protagonist during PTSD sequences or moments of isolation. This careful consideration of perspective allows me to guide the audience’s attention and amplify emotional impact.
Close ups are another critical tool for visual storytelling. By framing specific objects or parts of a character, such as hands, eyes, or weapons, I communicate tension, fear, or anticipation without relying on dialogue. This is particularly useful in stop motion, where subtle physical gestures are key to conveying emotion. The combination of close ups and wider establishing shots balances intimacy with spatial awareness, maintaining clarity in each scene.
Composition also involves planning the placement of characters and props within the frame. I use techniques like leading lines and visual weight to draw focus to points of action or emotional significance. Positioning the protagonist slightly off centre in certain frames creates a sense of imbalance and unease, reflecting his psychological state. This attention to framing ensures that every shot reinforces the story’s themes and emotional tone.
lastly, I experiment with camera movement to add dynamism to the scenes. Small zooms, subtle pans, and simulated tracking shots create the impression of motion and intensity, making fight sequences and suspenseful moments more engaging. Even slight camera adjustments between frames maintain a sense of energy, preventing the animation from feeling static. This combination of angles, composition, and movement allows me to create a visually rich stop motion world.
Integrating Style and Narrative:
Overall, the visual style and aesthetics work in harmony with the narrative, supporting both the emotional depth of the protagonist and the tension of the story. Every choice in lighting, colour, and composition reflects the psychological state of the character, whether during action sequences, PTSD episodes, or moments of discovery. This alignment between visual style and story ensures a cohesive and immersive viewing experience.
The visual planning also balances practicality with creativity. By testing low budget lighting materials, experimenting with angles, and planning composition carefully, I achieve professional looking results without overspending. This approach reinforces the idea that stop motion encourages inventive problem solving, particularly when resources are limited.
Furthermore, integrating visual style with narrative makes it possible to use stop motion to convey complex themes. Blue tones, harsh snowy lighting, and dossier overlays communicate trauma, secrecy, and moral ambiguity, while camera angles and framing enhance suspense and emotional impact. Combining these techniques creates a visual language that conveys story and emotion simultaneously.
Finally, planning visual style in advance ensures consistency across scenes and sequences. Maintaining colour, lighting, and composition throughout production is critical in stop motion, where even small deviations disrupt continuity. By documenting experiments, lighting setups, and camera positions, I reproduce the desired effects consistently, ensuring the animation maintains its intended atmosphere and aesthetic from beginning to end.
Planning III - Extra research
Extensive research played a crucial role in shaping my stop motion project, helping me to develop both the technical and creative aspects of the animation. At the beginning, I focused on understanding different stop motion techniques by analysing professional animators’ work. Watching animations by Lee Hardcastle provided insight into how movement and timing can be exaggerated for dramatic effect, while Aardman Studios’ projects showed how subtle character expressions and detailed set designs contribute to storytelling. By comparing these styles, I was able to see how animation choices influence tone, pacing, and audience engagement.
I also researched narrative structures to understand how to build tension and emotion in a short animation. Studying examples of non-linear storytelling and the use of flashbacks helped me plan the PTSD sequences in my project. This research guided my approach to editing and sequencing, ensuring that the story could convey both action and psychological depth. Understanding narrative pacing also allowed me to identify where key plot points and emotional beats should occur, which informed my storyboard development and shot planning.
Lighting techniques were another major focus of my research. I explored how light can influence mood, highlight character movement, and create atmosphere in stop motion. For example, I observed how coloured lighting and shadows could be used to convey nighttime scenes or intense moments of stress and anxiety. This research inspired me to experiment with low-budget alternatives, such as using translucent wrappers to create tinted lighting effects, showing that practical solutions can achieve professional-looking results even on a tight budget.
Practical animation tricks were equally important in my research. I looked at how animators achieve fluid motion, especially during complex sequences like fight scenes or rapid movements. Techniques such as incremental frame adjustments, partial props, and rigging methods for jumps or falling objects offered solutions for creating believable action without needing expensive equipment. These insights helped me plan my own animation process, allowing for creative problem-solving while keeping production manageable.
Research also helped me identify challenges I would face during production. One major concern was achieving realistic character expressions, which are difficult to animate frame by frame, especially when using simple materials. Studying how professional animators manipulate clay, plastic, or articulated figures inspired me to consider alternative approaches, such as exaggerating certain gestures or using camera angles to convey emotion. Understanding these challenges in advance allowed me to prepare solutions and test methods before beginning the full animation.
Finally, the research process encouraged me to think creatively within the constraints of a low-budget project. By studying professional examples and practical techniques, I was able to identify ways to make my stop motion visually engaging and emotionally effective without relying on expensive equipment or large teams. This included experimenting with movement, lighting, and storytelling techniques using everyday materials, which ultimately shaped the production plan and gave me confidence in my ability to execute the animation successfully.
Planning IV - Story TimeLine
Agent Sully
SCENES | ANGLES | ACTION | CONTEXT | DIFFICULTY |
Opening | ||||
Gear up | Extreme Close up/side shot/over the shoulder | Gear up/getting guns ready | Mission brief | Easy |
Journey | Wide shot/ medium long shot | Riding motorcycle through the streets | Riding to the destination | Medium |
The Balkan war (PTSD) | Close ups/ medium shot/ over the shoulder/ medium long shot | Shooting at Balkan enemies, gets cover and kills 2 of the four enemies then saves a comrade by lifting a vehicle off him | We find out sully has PTSD from the war in the Balkan region in the December of 1998, this drastically defines his character as we find out he’s a strong willed and abled individual | Hard (save for last) |
Corridor | Medium Shot/ extreme Close up/ Panning | Climbs in through window/ stealth takedowns and shooting with suppressed gun | Making his way to the target | Easy |
Further down | Close up/ eye level shot/medium shot | Taking down the enemies one by one before almost blowing his cover when he misses his shot and deals with the witness by punching him in the face, kicking him in the groin and slamming his head into a wall | Approaching the room the target is held in | Easy |
Outside the room | Closeup | Places hand on ear. Looks left and right before attempting to enter it. | Reporting to base on the close call and informs his boss he reached the room | Easy |
Opening the door | Close up | Grabs door handle, takes a glance before walking in | Checking room | Medium |
Inside the room | Over the shoulder/ close up/ eye view shot/ medium shot/ wide shot/ panning/ looking through or past people | Walks into room, turns around sees a bunch of men looking at him. Shooting, runs out of ammo, gets pistol and finishes them off | Gets caught walking into the room and seeks cover shooting the men | Easy |
Fight | Close up/medium shot/ over the shoulder/ panning | Punches the enemy charging at him, grabs another by the throat and punches him three times before throwing him at the others. Dodges a series of punches and counters them with small hits. Headbutts an enemy, shoves another and shows off his combat skills with a series of strikes and dodges aswell as counters. Lastly slamming the final enemy into a table. | Runs out of bullets and beats everyone up | Medium |
Remembering Bosnia | Flashback/ Medium long shot/ close up/ over the shoulder/ zooming in | Gun aimed at sully, sully hits it in the air and whacks it aside, grabbing the enemy and throwing him into a table. The other swings and hits sully but sully blocks the next shot and begins wrestling with him. Pressing his palm on his face he gets the leverage and pins his head against the wall while repeatedly punching and beating him but the the other enemy starts attacking him and sully quickly throws a 4 punch combination ending him and slams the other enemies head against the wall finishing him. | Just as he thinks he’s on his last legs he remembers the war in the balkans and filled with power and rage he takes out the remaining few of the enemies | Medium |
Epiphany | Medium shot | Standing still, presented with the documents. Flashbacks and memories | Realises his whole life was staged and he was a puppet for the government | Easy |
Escape | Close up/ medium shot | Plants an explosive on the wall. Explosion. Runs and jumps out | After finding out his agency was breached he makes a run for it as he blows a hole through the wall and jumps from the building | Hard |
Planning V - Set & World Design
The set design in my stop motion film is central to reinforcing both isolation and moral tension, with each environment carefully reflecting the protagonist’s psychological state. His safehouse is designed to feel temporary and neglected, as though he has never intended to stay anywhere for long. Dim lighting from a single exposed bulb casts uneven shadows across peeling wallpaper and stained surfaces, creating a claustrophobic and tense atmosphere. The space is sparse, with bare walls and minimal furniture, emphasizing his emotional detachment and the fact that he has no stable home or sense of belonging. Every detail of the room is intended to communicate impermanence and psychological strain.
I plan to achieve much of this using cardboard as my primary construction material. Cardboard walls can be layered, torn, and sanded to create textures like peeling wallpaper or cracked plaster, while painting in muted browns and dirty blues adds a sense of decay without expensive materials. Slight warping of the cardboard can work to my advantage, subtly enhancing instability and impermanence. Because cardboard is lightweight and easy to cut, I can design removable wall panels, allowing flexible camera angles while maintaining the claustrophobic framing that reflects the protagonist’s inner tension.
Government spaces are designed to feel sterile and emotionally cold. Here, I use cardboard in a cleaner, more controlled way, constructing smooth, flat panels painted in pale greys and cold blues to create symmetrical walls. Sharp edges and precise lines reinforce bureaucratic indifference, while minimal decoration and simple, geometric furniture convey a sense of impersonal rigidity. The flatness and simplicity of the cardboard emphasize how artificial and emotionally empty these spaces feel, mirroring the institutional structures that have manipulated and abandoned him.
The foreign political office contrasts both the safehouse and the government spaces. I continue to use cardboard as a base, but I layer and carve it to create heavier textures, such as embossed patterns and thickened wall sections, adding depth to shadowed corners. I apply painting techniques to simulate aged plaster or wood paneling, creating a space that feels more complex, powerful, and secretive. These heavier textures visually communicate tension and hidden truths, marking the office as a place of authority and intrigue.
For the snowy flashback environments, I shape cardboard into uneven terrain, broken structures, and fragmented ruins. I avoid literal realism, instead embracing slightly distorted proportions and simplified forms to evoke the fragmented, hyper-real nature of memory. Cardboard hills and jagged debris, coated with textured materials to simulate snow, create stark, cold landscapes that contrast with the confined interiors of the present. Modular design allows me to remove or rearrange walls and terrain sections to accommodate dynamic camera movements, keeping the flashbacks visually striking and flexible.
Overall, using cardboard as my primary building material allows me to combine practical production efficiency with thematic depth. Its flexibility lets me construct modular walls for easy camera access, while its texture can be manipulated to convey decay, sterility, or psychological weight depending on the setting. Through careful layering, painting, and lighting, cardboard becomes an integral part of my film’s aesthetic, reinforcing isolation, emotional tension, and the fractured psychological world of the protagonist.
Planning VI - Flashbacks
Creating the flashbacks for my stop motion will be one of the most interesting parts of the project because it allows me to explore two different visual styles, that I've taken a liking to, to represent the character’s past. Some of the flashbacks will be cinematic, using dramatic lighting, careful framing and smoother animation to make them feel like intense memories from his time as a soldier. Others will use a vintage media style inspired by the introduction of Godzilla vs Kong, where the scenes look like old recorded footage through effects such as film grain, distortion and a more documentary style presentation. Using these two approaches should help show different types of memories while also adding more depth to the story. I am excited to create these sequences because they give me a chance to experiment creatively and make the flashbacks feel unique within the film. However, it will also be a challenge because I have not created anything like this before, so I will need to test different techniques and learn new skills to achieve the style I want.
Vintage Flashback - Godzilla vs Kong
flashbacks will use a vintage media style inspired by the introduction of Godzilla vs. Kong, where the scenes appear like old archival footage or recorded military files. This style will include visual effects such as film grain, muted colours, screen distortion and lower image quality to make it feel like it was captured on older technology. I also want to experiment with elements that make it feel like classified or documented footage, such as text overlays, timestamps and censor bars placed over certain characters’ eyes. The censor bar in particular can add an element of mystery to the scene because it hides the identity of people involved, making the moment feel more secretive and suggesting that the information is being deliberately restricted. This can make the audience question what really happened in the past and add more intrigue to the story.
Cinematic Flashback - Stranger things
These scenes will take place in a snowy environment, which helps create a harsh and isolated atmosphere for the memories. The setting is partly inspired by Jim Hopper being imprisoned in Russia in Stranger Things, where the cold and snowy surroundings help emphasise the difficulty and danger of the situation.
These flashbacks will focus on strong visual storytelling through dramatic lighting, careful framing and smoother animation to make them feel more intense and emotional. Using shadows, close-up shots and the bright contrast of snow against darker elements will help highlight the character’s reactions and make the memories feel more powerful for the audience. I am excited to experiment with this cinematic style because it will make the flashbacks feel dramatic and important, although it will also be a challenge as I have not used these kinds of techniques much in my previous stop motion work.
Planning VII - Materials and Budget
Planning materials and budgeting is essential to ensure that my stop motion project remains feasible within a low budget. I carefully consider every item I need for the sets, props, and characters, prioritising affordability and accessibility. By focusing on inexpensive or reusable materials, I can allocate my limited funds efficiently while maintaining control over the creative aspects of the project. This approach also allows me to experiment with design and construction techniques without worrying about wasting costly resources.
Most of the sets and props are constructed from cardboard and plastic pieces with my box cutter. These materials are lightweight, easy to manipulate, and versatile, which allows me to create a variety of environments and objects quickly. Cardboard can be cut, layered, or textured to resemble walls, furniture, or other architectural features while plastic pieces can be adapted into weapons, tools, or small details. Using these simple materials ensures that I can maintain visual consistency across scenes while keeping production costs low.
Essential props such as toy guns are purchased to provide realism and continuity within the animation. While I invest in a few key items, the majority of resources are sourced from everyday objects. Bottles, containers, and household tools are repurposed as part of the set or props, encouraging creative problem-solving. This approach not only reduces expenditure but also pushes me to explore inventive ways to integrate common objects into the story.
Planning in this way allows me to focus on the animation itself rather than on complex construction. By simplifying the materials and props, I can dedicate more time to perfecting movement, timing, and character interactions. This ensures that the emphasis remains on storytelling and visual clarity rather than spending excessive time creating intricate sets that may not be necessary for the scenes.
I also carefully consider the availability of tools, camera equipment, and lighting to maintain consistent production quality. Simple tools such as craft knives, rulers, and adhesives are sufficient for constructing sets while my camera setup relies on existing equipment like a smartphone and affordable stabilisers. For lighting, I experiment with low cost solutions including LED lamps and translucent materials for colour effects. Planning around these accessible tools allows production to remain efficient and manageable while still achieving professional-looking results.
Finally, budgeting and resource planning encourages overall resourcefulness and adaptability. By using low cost and readily available materials, I can adjust sets, props, and lighting as needed without causing delays or exceeding the budget. This approach reinforces the practical skills required for stop motion production and allows me to achieve a visually compelling animation despite financial limitations. Careful planning and creative use of materials demonstrate that it is possible to produce a professional standard project even with restricted resources.
Planning VIII - Technical, Software and Practical things to think about
Technical planning focuses on using my phone as the main camera for the animation. I choose this approach because it is accessible, cost effective, and portable, allowing me to control framing and movement without expensive professional equipment. Using my phone also gives me the flexibility to experiment with different angles, distances, and perspectives in real time. This method allows me to focus on the animation itself while maintaining high production value within a limited budget.
To stabilise the camera, I use a flexible tripod with adjustable legs that can grip surfaces or bend to create unconventional angles. For shots that require very low perspectives or extreme height, I create makeshift stands from household items such as boxes, books, and clamps. These improvised solutions allow me to experiment with dynamic compositions, providing a cinematic quality to scenes without the need for costly rigs. By testing multiple setups in advance, I ensure that the camera remains stable and consistent throughout the animation process.
I also experiment with practical lighting setups to achieve mood and tone. In addition to standard lamps, I use inexpensive materials such as translucent wrappers, coloured plastic sheets, and reflective surfaces to create tints and subtle lighting effects. These solutions allow me to produce atmospheric blue tones for night scenes or harsher lighting for flashback sequences. By adjusting the distance and angle of light sources, I can enhance shadows, highlight key elements in the frame, and maintain continuity across shots.
Using low cost materials for lighting encourages creative problem solving and experimentation. I test different combinations of tints, layers, and reflective surfaces to achieve subtle colour effects without expensive gels. This approach allows me to manipulate both intensity and colour temperature, creating depth and texture in each frame. By exploring how materials interact with light, I develop a versatile toolkit for achieving professional looking results on a limited budget.
In terms of software, I plan to use accessible editing programs to assemble the animation, adjust timing, and add sound effects. These programs allow me to import images, align frames precisely, and control playback speed to create smooth motion. I also use the software to layer audio, including dialogue, Foley, and ambient sound, which adds depth and realism to the animation. By planning my workflow in advance, I can streamline the editing process and avoid unnecessary complications during post production.
Although I am not highly skilled in editing, I am prepared to persevere. I plan to use online tutorials, trial and error, and careful practice to learn new techniques gradually. This process allows me to understand the software’s capabilities, troubleshoot problems, and improve efficiency over time. By committing to consistent learning and experimentation, I am confident that I can achieve a polished, professional final product.
Finally, integrating both technical and software considerations into the planning process ensures that the animation maintains visual and auditory consistency. The combination of stabilised camera setups, creative lighting, and carefully planned software workflows allows me to maintain control over every aspect of production. This approach ensures that the final stop motion animation communicates the intended mood, narrative, and emotion while demonstrating resourcefulness, adaptability, and technical competence.
Planning IX - Production Schedule
I create a detailed production schedule to ensure the project can be completed within the time constraints of the FMP. I break the project down into clear phases including set and prop construction, character preparation, animation, lighting, and editing, which allows me to approach the work in an organised and manageable way. Allocating time for testing, retakes, and revisions is essential because stop motion is an inherently time intensive process, and even small adjustments can have a significant impact on the final result. The schedule also accounts for the integration of flashbacks and dossier style sequences, which require additional planning in post production to ensure they align with the narrative and maintain continuity. Most of my filming takes place at night to achieve the dark, atmospheric lighting needed for the story, which means that I am often working into the early hours and may be late for college in the mornings. By structuring the schedule with realistic time allocations and buffer periods, I can balance my workload, accommodate unforeseen delays, and maintain consistent progress toward completing the animation on time while preserving quality.
Pre Production I - Building the set
While constructing the opening scene set for my stop motion FMP, I aimed to create a small, cramped apartment room that would establish the character’s personal living space while also giving the feeling that he is somewhat trapped in his environment. The limited space of the set was intentional, as it reflects the character’s isolated lifestyle and the pressure of the life he now lives as a mercenary. To enhance the realism of the environment, I included a range of detailed props such as a locker, a side desk, a table, a laptop and a bounty board with two targets scribbled off to suggest previous completed jobs. Many of these props were handcrafted from cardboard, which I carefully cut, assembled and coloured to give the impression of worn furniture and interior features. I also experimented with mixed materials, for example constructing the table using toy parts for the surface while using four batteries as the legs to support it. During the building process I encountered a few minor issues, particularly with the cardboard bending or breaking while being cut or glued together. However, these problems were relatively easy to fix by reinforcing weaker areas or replacing certain pieces. I also customised the cardboard surfaces to make them resemble decorated apartment walls rather than plain material, which helped make the set feel more believable and detailed while maintaining the cramped atmosphere of the room.
Production I - Animating/Trial and error
The opening scene follows a clear sequence that shows the mercenary preparing for his next job, giving the audience insight into his methodical routine and professional mindset. It begins with him loading his guns with ammo, highlighting the importance of preparation and the danger inherent in his work. He then puts on his mask, signaling that he is ready to fully commit to the mission. Next, he walks over to his laptop to find the location of his target, showing how he gathers crucial information before acting. After this, he glances at the bounty board, which has two previous targets scribbled off, reinforcing his experience and past successes. He then packs up his gear, ensuring he has everything he needs, and takes one final look at the bounty board before making his way out of the apartment. The scene concludes with him getting on his bike and leaving, marking the transition from preparation to action and setting the stage for the rest of the story. This sequence allows the audience to understand the character’s routine, professionalism, and the high-stakes world he operates in, all without the need for dialogue.
Pre Production II -
For my stop motion set, I constructed the main environment using cardboard as the primary material. I used two long strips of cardboard to form the walls of the set and carefully cut out square holes with a box cutter to act as windows. This allowed light to pass through and helped create the impression of an apartment hallway while keeping the structure lightweight and easy to adjust during filming. To enhance the realism of the setting, I also cut out thin strips of paper and wrote small signs that would typically appear in an apartment complex, such as “No Smoking”, “Level Three”, and other notice style labels. Including these details helped establish the location and made the environment feel more authentic and believable.
In addition to the walls, I used leftover cardboard to construct a variety of small props that would populate the set. I shaped pieces of cardboard into objects such as bags and other environmental items, as well as decorative elements like small tables and stools, which helped make the space feel more lived in. For scenes that required an exterior view, I placed miniature British style terraced houses outside the set to represent the surrounding street.
I also used thin strips of tin foil positioned behind certain areas so that they would reflect light, helping to sell the illusion that the windows were facing the outside environment. For a particular scene that required more specific detail, I ordered miniature toy guns online so the action within the animation would appear more convincing. By combining handmade cardboard props with miniature buildings and carefully selected materials, I was able to create a cohesive and detailed set that supports the narrative of the stop motion film.
Production II -
Filming the scenes of the mercenary arriving at the location and neutralising the guards proved to be the most challenging part of my stop motion FMP. The sequence begins with him arriving at the compound, where I planned to incorporate his first flashback, showing him emerging from the shadows holding a suppressed gun. He then enters the building, captured through an establishing shot to set the scene. Inside, he confronts his first guard, grabbing him and throwing him onto a table to make him drop his gun before shooting him in the back. As he moves through the corridors, he encounters another guard, catching his fist, punching him in the face, uppercutting him to the belly, and slamming his head into a stack of stools against the wall before continuing further into the compound.
These scenes were particularly difficult to film because I encountered multiple issues with the set, including knocking over objects, struggling with lighting that was either too harsh or too dim, and misplacing props, which significantly slowed progress. To address these problems, I refilmed sections of the scenes, experimented with using a single light source, and adjusted the intensity of other lights to achieve the correct balance. The fight sequence, in particular, had to be refilmed several times because objects kept moving and the timing felt rushed, but after persistent attempts, the final shots were successful and I was satisfied with the outcome.
Overall, the process taught me the value of patience and adaptability when facing unforeseen challenges. I learned to plan carefully, anticipate potential issues with props, lighting, and space, and adjust my methods rather than rushing through the filming. Developing this approach allowed me to overcome the difficulties of these complex sequences, improve my technical skills, and produce scenes that I was proud of, while also preparing me to handle future challenges more effectively.
Pre Production III -
Production III -
The animation opens with the protagonist approaching the government building, which looks large and intimidating to show its power and control. I position the camera at a low angle so the building appears dominant while the character looks smaller and more vulnerable. As the protagonist enters, I slow down the pacing of the stop motion by adding more frames into each movement. This makes their actions feel careful and tense. Each step is slightly exaggerated to build suspense, and I adjust the lighting so it becomes more focused, creating shadows that add to the sense of danger. This helps the audience immediately understand that the character is entering a risky situation.
As the protagonist moves through the building, I animate small and controlled movements to show that they are alert and cautious. The character pauses at corners, slightly turns their head, and walks in short steps, which all require careful repositioning of the figure each time I take a photo. When they come across opposition, the pacing changes to become faster and more intense. I reduce the number of frames between movements so the action feels quicker and more energetic. I also focus on making sure each movement connects smoothly, such as lifting a weapon or reacting to another character, so it does not look jumpy. This contrast between slow tension and faster action keeps the animation interesting and engaging.
During the process, I face a lot of challenges, especially with the figures themselves. Because stop motion is very delicate, it is easy to accidentally knock over a character or move part of the set without meaning to. This happens quite often, which means I have to restart and refilm entire scenes. It becomes frustrating because I have to match the exact positions, lighting, and camera angles again to keep everything consistent. Even small mistakes can ruin the flow of the animation, so I have to stay very focused and patient throughout.
Even though the process is difficult and sometimes quite tiring, I keep going and learn from the mistakes I make. Having to refilm scenes actually helps me improve my attention to detail and my control over the figures. By the end, I manage to create a stop motion animation that clearly shows the tension of the character entering the building and dealing with opposition. The final outcome feels satisfying because it reflects all the effort I put in, and I can see how much my skills have developed over time.
Pre Production IV-
Production IV-
As I finish the scene, I focus on controlling the pace to make the combat feel more intense and engaging. I experiment with different animation speeds, using slower movements to build tension and then speeding things up during the fight to create a sense of urgency. This contrast helps me guide how the audience experiences the action. I also put a lot of effort into making the movements feel believable, especially through weight distribution. For example, when the character shifts their stance or strikes, I adjust the positioning carefully so it looks like they are actually balancing their body rather than just moving randomly. I also include small camera movements and tracking shots to follow the action, which makes the scene feel more dynamic and less static.
I believe this faster and more compact scene works well because it keeps the audience focused and interested without dragging on. By tightening the action and making each movement more purposeful, the sequence feels more impactful. The combination of controlled pacing, realistic movement, and slight camera motion helps create a more immersive experience. It also shows how my animation skills have developed, as I am more confident in experimenting with different techniques to improve the final result.
However, the process becomes quite messy, especially towards the end of filming. There are a lot of props and small objects involved in the scene, and they often get moved out of place or clutter the set. Cleaning everything up and resetting it for each shot is time consuming and sometimes frustrating. Despite this, I feel very pleased with how the scene turns out. The final result feels strong and complete, and I am excited to move on to the next part of the project with more confidence and experience.
Pre Production V -
Production V -
I decide to redo the ending of the previous scene because I feel it lacks impact, and I want a more dramatic finish. I reanimate the final moment so the protagonist forcefully slams an enemy onto a table, making the action feel more powerful and sudden. To achieve this, I increase the speed of the movement across fewer frames and exaggerate the poses slightly so the motion reads clearly. I also pay attention to how the table reacts, adjusting its position frame by frame to suggest impact and weight. Filming this section is actually a lot of fun, as it allows me to experiment with more intense action and see what my project is capable of. It gives me a clearer idea of how I can push future scenes further and make them more visually exciting.
Working on this improved ending helps me understand the potential of my animation as a whole. By refining such a small but important moment, I realise how much difference pacing and strong actions can make to the overall scene. It encourages me to think more creatively about choreography and camera framing in later parts of the project. I feel more confident moving forward, knowing that I can build on these techniques and continue to improve the quality of my work.
As I move onto the next scene, I try a different technique to create the illusion of the character walking. Instead of physically moving the character forward in large increments, I keep him mostly in place and move the background behind him while slightly swaying his body. This creates the impression of steps without needing complex repositioning for each frame. It is a simple but effective method that saves time while still looking convincing. During this sequence, the character is suddenly caught off guard as bullets begin to rain down heavily on him, which shifts the tone quickly from calm to chaotic.
To enhance this moment, I experiment with practical effects to make the action feel more realistic. I use a small flashlight that my dad gave me to create quick flashes of light for the gunshots, timing each flash with the movement of the character. I also use small pieces of cotton to represent smoke and particles in the air, adjusting them slightly between frames to give a sense of movement and impact. As the bullets fly, the protagonist miraculously dodges them and quickly jumps behind cover, which I animate with faster movements to show urgency. Even though it requires careful coordination, I find the process really enjoyable, and it adds another layer of depth to the scene.
Pre Production VI -
Production VI -
The scene continues with the protagonist suddenly coming under heavy fire, bullets striking the environment around him and forcing him into immediate action. He reacts quickly by diving for cover, using nearby structures to shield himself as the intensity of the gunfire increases. The pressure of the moment is clear as he remains pinned down, carefully observing the direction of the incoming shots while preparing to respond. This moment establishes the danger of the situation and places the audience directly into the chaos alongside him.
To enhance the realism of the gunfight, I used practical effects to simulate gunshots and environmental impact. Small bursts of debris are created to show bullets hitting surfaces, adding a sense of physical interaction within the set. A torch is used to represent the light emitted from gunfire, helping to visualise each shot and making the action clearer on camera. These effects contribute to a more immersive and believable sequence despite the limitations of the materials.
I also experimented with different materials to distinguish between weapons. Tin foil is used for the enemy gunfire, creating a sharper and more reflective effect, while cotton is used for the protagonist’s weapon to suggest a more subdued and controlled output. This subtle contrast allows the audience to differentiate between suppressed and unsuppressed gunfire visually. It adds another layer of detail to the scene and shows careful consideration in how each element is presented.
Pre Production VII -
Production VII -
Once he finds a brief opening, the protagonist leans out from cover and begins to return fire. The exchange becomes a back and forth gunfight, with shots ringing out from both sides as he times his movements carefully. Each time he fires, he quickly retreats back into cover, avoiding the continuous stream of bullets coming toward him. This rhythm of attack and defence builds tension and keeps the pacing fast, making the scene feel intense and unpredictable.
As the fight continues, the protagonist begins to push forward rather than remain stationary. He advances between moments of cover, showing confidence and control under pressure. This progression highlights his skill as a highly competent gunman, suggesting a background shaped by elite experience in war. His movements are calculated and efficient, and his accuracy improves as he closes the distance, reinforcing his ability to handle high risk combat situations.
Filming this sequence is particularly enjoyable because it allows for a high level of creativity and experimentation. I focus on making the pacing fast to create a thrilling and engaging atmosphere, using quick cuts and tight framing to maintain energy. By zooming in closely on the action, the set appears fuller and more detailed, which also reflects the protagonist’s mental state. The scene feels chaotic and cluttered, mirroring the intensity and confusion of being in the middle of a gunfight.
Pre Production VIII -
Production VIII -
After pushing through the conflict, the scene transitions into a quieter but equally tense moment as the protagonist enters a series of corridors. Here, the focus shifts from open combat to stealth and precision. He moves cautiously, taking slow and deliberate steps while scanning his surroundings for threats. The reduced pace allows tension to build gradually, creating a sense of anticipation as the audience waits for the next encounter.
As he progresses through the corridors, he begins to take out guards one by one using stealth. Each movement is controlled and quiet, emphasising his discipline and awareness. The contrast between the earlier fast paced gunfight and this slower approach highlights his versatility as a character. It also allows for a different style of storytelling, where silence and timing become more important than speed and volume.
To create the illusion of movement, I manipulate the camera angle and shift the background rather than physically moving the figurine itself. This technique gives the impression that the protagonist is walking through the space while maintaining control over the shot. It builds on previous methods I have used and demonstrates how simple adjustments can create convincing motion within a limited setup.
Pre Production IX -
Production IX -
This section of the scene is designed to build suspense through controlled pacing and careful composition. The quiet movements and narrow framing help to create a sense of tension, as every step feels significant. The audience becomes more focused on small details, such as subtle shifts in position or changes in lighting, which enhances the overall atmosphere.
Filming the walking sequence proves to be particularly difficult due to several technical challenges. The figurine repeatedly falls over, which disrupts the flow of the scene and requires multiple resets. At the same time, the background does not always move in sync with the intended motion, breaking the illusion of walking. The lighting also appears too harsh at first, which reduces the effectiveness of the scene and makes it look less natural.
To overcome these issues, I make a series of small adjustments, including reducing the lighting intensity and refining the camera settings to achieve a more balanced look. I also take more time to carefully align each movement and ensure consistency between shots. In total, I film the scene seven times before achieving a result that feels convincing. Although the process is frustrating, the final outcome is very satisfying and demonstrates persistence and attention to detail.
Pre Production X -
Production X -
The next scene focuses on the protagonist making his way through the compound as he moves carefully toward the room where he plans to plant a bomb. The purpose of the bomb is to support the cover up story surrounding what happened to the people inside the building, making the explosion appear responsible for the destruction and deaths. I wanted the animation of this sequence to feel tense from the beginning, with the audience understanding that the protagonist is operating under pressure while still remaining calm and focused. His movements through the corridors are deliberate and controlled, showing his experience and confidence. By building suspense before the fight begins, the audience is given time to anticipate danger, making the sudden violence inside the room feel far more impactful.
When the protagonist enters the room, the fight scene immediately erupts with intense energy. He quickly takes out the first guard by striking him across the head with his gun before slamming his face onto the table. I wanted the choreography to feel like controlled chaos because although multiple violent actions happen in rapid succession, the protagonist never appears panicked or overwhelmed. Every movement is purposeful and efficient, reinforcing the idea that he is highly trained and always aware of his surroundings. After restraining the first guard in a headlock, he uses his gun to shoot the second guard before the man has a chance to properly react. The speed of the sequence creates tension and excitement while also communicating the protagonist’s dominance over the situation.
The pacing of the animation was one of the most important aspects of the scene because I wanted the action to feel extremely fast and aggressive before coming to an abrupt stop. The quick attacks and sudden transitions between movements create the feeling that the protagonist is suppressing the threat before it can escalate into a larger fight. This fast pace keeps the audience engaged and mirrors the urgency of the situation. However, once the second guard has been shot, the scene suddenly slows down as the protagonist begins choking the remaining guard. This dramatic change in pace creates an uncomfortable atmosphere because the violence becomes more personal and prolonged. Instead of ending with an explosive action moment, the fight concludes in silence, making the audience focus entirely on the brutality of the protagonist’s actions.
I wanted the ending of the fight scene to feel unsettling because it reveals more about the protagonist’s personality and the nature of his combat. The chokehold is not simply used to defeat the guard but to show how emotionally detached the protagonist has become. By holding the shot for longer and reducing the speed of movement, the animation emphasises the struggle of the guard and the cold determination of the protagonist. This creates an ominous tone that lingers after the action has finished. The audience is left with the understanding that the protagonist is capable of extreme violence without hesitation or emotion. This moment was important because it shifts the scene from being an exciting action sequence into something darker and more psychologically disturbing.
Camera angles and tracking were carefully planned to make the scene feel immersive and to build anticipation throughout the fight. Before the violence begins, slower tracking shots follow the protagonist through the compound to create suspense and establish the environment. Once the fight starts, the camera becomes much more dynamic, using close angles and rapid movement to place the audience directly inside the action. Tracking the protagonist closely as he moves between each attack helps the audience experience the fight from his perspective and reinforces his control over the room. I also wanted to use tighter camera framing during the chokehold to create discomfort and intensity. By contrasting wider establishing shots with close and restricted angles during the combat, the scene becomes more engaging while also increasing the tension and emotional impact of the final moments.
Pre Production XI -
Production XI -
The next scene focuses on the protagonist continuing to push deeper into the compound as he approaches the final area before reaching his target. I wanted this section of the animation to create a strong sense of tension and anticipation because the audience understands that he is getting closer to the climax of the mission. As he approaches the hallway, he notices several heavily armed security guards patrolling and monitoring the area. To communicate the danger of the situation, I animated the protagonist carefully scanning the environment and observing the guards before making his next move. This slower moment before the action begins was important because it allows suspense to build naturally and gives the audience time to understand the threat surrounding him.
The tension immediately escalates when one of the guards spots the protagonist before he can fully react. I wanted this moment to feel sudden and realistic, showing how quickly situations can change during combat. Before the guard has the chance to fire his weapon, the protagonist quickly shoots him and then immediately takes out another guard to prevent the office workers nearby from hearing the gunshots. The fast pace of these opening attacks creates urgency and reinforces the protagonist’s sharp instincts and combat experience. Although the violence happens quickly, I still wanted every action to feel believable and grounded in realism. The protagonist is not portrayed as invincible but instead as someone relying on fast reactions and tactical thinking to survive overwhelming odds.
After the gunfire, the fight transitions into close quarters combat when one of the guards knocks the gun out of the protagonist’s hand and attempts to strike him. This was an important moment in the choreography because it shifts the scene from ranged combat into a more physical and brutal confrontation. The protagonist quickly counters the attack and catches another guard’s arm as he attempts to strike as well. I wanted the combat to feel raw and realistic, with movements flowing directly into one another rather than appearing overly choreographed. When the protagonist punches the guard’s elbow and breaks it before tackling him into the wall, the animation emphasises the force and aggression behind each movement. The series of blows delivered afterward reinforces the desperation and intensity of the fight while still maintaining the protagonist’s dominance.
The sequence becomes even more chaotic when another guard intervenes and grabs the protagonist’s arm before he can continue attacking. I wanted this interruption to make the fight feel unpredictable and constantly evolving because the protagonist is forced to adapt to multiple threats at the same time. After wrestling free, he shifts his attention toward the new guard and the two engage in hand to hand combat while stumbling backward through the environment. This section of the fight was animated with a combination of fast exchanges and slower impacts to make every strike feel more impactful. Eventually the protagonist gains control and finishes the fight with two elbows before striking the guard in the body and head. The choreography during this moment was designed to show the protagonist gradually overpowering his opponent through aggression, speed, and precision.
Immediately after this exchange, the protagonist is attacked again by the final guard, preventing the audience from having any moment to relax. I wanted this final section to maintain the pressure and intensity of the sequence while also demonstrating the protagonist’s skill in reacting under stress. He deflects the guard’s gunfire before lifting him and slamming him onto the tables. This final action was intended to end the fight in a dramatic and visually impactful way. By using the environment as part of the combat, the animation feels more immersive and realistic rather than limiting the fight to simple punches and kicks. The suddenness of the slam also helps create a satisfying conclusion to the sequence after the prolonged tension and violence that came before it.
Throughout the entire scene, I wanted to highlight realism while also maintaining a strong sense of anticipation and excitement. The pacing constantly shifts between fast and slow moments in order to keep the audience engaged and to prevent the action from feeling repetitive. Faster sections were used during gunfire and rapid exchanges to create urgency, while slower moments focused on impacts and physical struggle to make the violence feel heavier and more believable. Camera techniques were extremely important in achieving this effect. Through camera tracking, close ups, and framing, I was able to make the audience feel directly involved in the action. Tracking shots following the protagonist through the hallway helped immerse the viewer in the combat, while tighter close ups during key strikes increased the intensity and realism of the impacts. By combining different camera movements and pacing techniques, the sequence becomes immersive, thrilling, varied, and visually engaging from beginning to end.
Pre Production XII -
Production XII -
Continuing from the previous sequence, I animated the protagonist fighting the final guards outside the office room, bringing the action towards the climax of the scene. The choreography of the fight was designed to appear intense but controlled, reinforcing the protagonist’s dominance and combat ability. In the sequence, the protagonist successfully parries the attacker’s punches before grabbing him by the neck and slamming him onto a table, instantly knocking him unconscious. I wanted this moment to feel impactful and satisfying for the audience, as it represents the protagonist fully taking control of the altercation despite being outnumbered. The stop motion process for this fight required careful positioning of the figures frame by frame in order to make the movements appear fluid and realistic, especially during the fast paced combat actions.
One of the most difficult parts of animating this scene was managing the lighting and camera exposure. During filming, the exposure would constantly appear either too bright or too dark, which made the footage look inconsistent and unrealistic. This became extremely frustrating because even slight adjustments to the lighting setup would dramatically affect the quality of the frames. I spent a significant amount of time experimenting with camera settings and repositioning the lights in order to find a balance that suited the atmosphere of the scene. Eventually, I solved the issue by lowering the shutter speed to 1/50 and increasing the ISO, which created a much more balanced exposure while still maintaining enough detail in the darker areas of the set. This allowed the final animation to look far more cinematic and visually consistent.
The same lighting and exposure problems also affected the ending section of the sequence, particularly when the protagonist walks over to the office door. After reviewing the original footage, I realised the scene did not look as polished as I wanted and the pacing felt too short, so I decided to completely re film the ending. Although this took additional time, it significantly improved the overall quality of the animation. While re shooting the scene, I used the same exposure settings that I had previously discovered, ensuring visual continuity throughout the sequence. I also extended the duration of the scene slightly, allowing the protagonist’s movements to feel slower and more deliberate as he equips his handgun, listens carefully for movement behind the door, and slowly begins to peek inside. This helped build suspense and tension before the next part of the narrative.
A major theme I focused on throughout this scene was dominance and control. Even though the protagonist is heavily outnumbered, he remains calm and tactical during the fight, demonstrating that he is always in control of the situation. I wanted the audience to clearly understand the protagonist’s abilities through the way he moves and reacts during the combat. This idea of controlled chaos links directly to the previous scenes in the animation, where fast paced action is balanced with precise and calculated movements. By carefully timing the animation and making the protagonist appear confident in every action, I was able to reinforce his authority and skill within the narrative.
This sequence also gave me the opportunity to be highly creative with the choreography and pacing of the animation. Rather than making the fight predictable, I wanted the outcome and movement of the scene to feel unexpected and engaging for the audience. The moment where the protagonist suddenly overpowers the final guard and slams him through the table adds a dramatic turning point that surprises the viewer while still fitting naturally within the story.
Additionally, slowing down the final moments near the office door created a strong contrast between the chaotic action and the tense silence that follows. Overall, this scene allowed me to experiment with both technical elements and storytelling techniques, helping me improve my stop motion skills while also creating a more cinematic and immersive sequence.
Pre Production XIII -
Production XIII -
In continuation of the major fight scene, I recorded a series of visuals showing the office that the protagonist, Sully, was preparing to enter. I wanted the audience to immediately understand the danger and tension inside the room before the action even began. To achieve this, I carefully framed shots of the guards positioned around the office and the target sitting behind the desk. This established the environment clearly and built suspense for the audience as Sully slowly entered the room. As soon as he enters, he quickly shoots the two guards standing in front of the desk, creating an intense opening to the sequence. I animated the muzzle flashes frame by frame in order to make the gunfire appear more realistic and cinematic, which added energy and realism to the scene.
As the sequence continues, Sully prepares to take a shot at the target, however his hand is suddenly struck away causing him to drop the gun. I wanted this moment to surprise the audience because it shifts the balance of power within the scene very quickly. A security guard charges towards him and the fight becomes much more physical and aggressive. Sully blocks the incoming attack before striking back, then blocks another attack and responds with two quick hits that knock the guard unconscious. The choreography of this fight sequence was carefully animated to maintain a sense of speed and intensity while still being understandable for the audience. This part of the scene helped reinforce Sully’s combat skills and his ability to stay calm under pressure.
Another major moment in the scene occurs when a second security guard charges directly at Sully and pins him against the office door. I wanted this sequence to feel claustrophobic and desperate in comparison to the earlier moments where Sully appeared fully in control. To animate this, I positioned the figures very close together and used tighter camera framing to make the audience feel trapped within the struggle. Sully uses his forearm to create enough space between himself and the attacker before reaching for his knife and retaliating. The movement was designed to feel quick, brutal, and efficient, showing that Sully is highly trained and ruthless. After defeating the guard, the atmosphere of the room becomes much quieter and more unsettling.
The reaction of the target was also an important storytelling element within this sequence. After witnessing the violence, the target slowly turns his head away in disgust, clearly disturbed by what he has just seen. However, when he looks back, he finds Sully staring directly at him. I wanted this moment to communicate fear entirely through visuals rather than dialogue. The expression and body language of the target were intended to show panic and helplessness as he realises there is no escape. Fear becomes the dominant emotion within the scene and helps create a powerful contrast between Sully’s calmness and the target’s vulnerability. This visual storytelling allowed the audience to understand the emotions of the characters without needing spoken words.
One of the creative decisions I made during production was to avoid relying heavily on voice acting. I am not particularly confident with voice acting, so I decided that the majority of the storytelling would be communicated through visual art, movement, lighting, and camera work instead. This pushed me to think more carefully about how each shot could convey emotion and narrative information. I focused heavily on character positioning, pacing, and facial direction in order to ensure the audience could still understand the story clearly. Although this approach was challenging, it also made the project feel more cinematic and visually engaging because the audience has to interpret the emotions and tension through what they see rather than what they hear.
To make the filming process more manageable, I took shots of the different characters at separate times instead of animating every figure together simultaneously. I filmed Sully’s sequences first because he was involved in the majority of the movement and action throughout the scene. After this, I worked on the guards individually before finally filming the journalist and target at the end. This method helped me stay organised and allowed me to focus on the specific movements and details of each character without becoming overwhelmed. It also gave me more control over continuity and camera positioning, helping the final sequence appear smoother and more polished when edited together.
Lighting and camera angles played a major role in establishing the tone and atmosphere of the scene. I used darker lighting within the office to create a tense and intimidating mood while still highlighting the important subjects within the frame. Shadows were especially useful in making the room feel dangerous and suspenseful. I also experimented with a variety of camera angles, including low angles to make Sully appear dominant and powerful, as well as tighter close up shots during the fight scenes to increase intensity. One technique I experimented with was the dolly zoom effect, which worked extremely well within the scene. The effect created a distorted and unsettling feeling that enhanced the tension and psychological pressure within the office. I was very happy with the final outcome because it added a professional and cinematic quality to the stop motion animation.
Overall, this scene was one of the most difficult sequences to shoot because there are limited ways to explain a story clearly without using dialogue. At times it was challenging to communicate emotions, tension, and narrative progression purely through visuals and movement. However, through experimenting with camera work, lighting, pacing, and character actions, I managed to find effective ways to tell the story visually. Even though I still believe some dialogue will eventually be necessary to fully complete the narrative, I am very pleased with the progress I made during production. By the end of filming, I successfully completed the entire scene, which was a major achievement considering the complexity of the action and the amount of animation required.
Pre Production XIV -
Production XIV -
The plot twist in my stop motion animation is designed to completely unravel both the story and Sully’s understanding of himself. Throughout the film, Sully is presented as disciplined, efficient, and loyal to the war effort, with his actions framed as heroic and necessary. However, the revelation that the war was entirely fabricated destroys the foundations of his identity. Animating this moment is important because it marks the collapse of everything he believed in. I want the audience to feel the sudden emotional weight of the truth alongside Sully, as though the structure of the film itself is beginning to fracture in response to his realisation.
After receiving this revelation, Sully makes the irrational decision to kill the journalist who exposed the truth to him. This moment is intentionally shocking because it leaves the audience questioning why he would silence the one person offering honesty. Rather than presenting a clear explanation, I want the scene to feel morally ambiguous and emotionally chaotic. Sully’s actions suggest that he cannot emotionally process the revelation and instead lashes out in desperation. The audience is left wondering whether he kills the journalist to protect himself, to preserve the lie he devoted his life to, or simply because his mind cannot cope with the collapse of reality around him.
To communicate Sully’s mental breakdown visually, I plan to use rapid changes in camera depth of field during the final sequence. Earlier in the film, the camera work will remain steady and focused to reflect Sully’s organised and controlled personality. In contrast, the final scenes will feature sudden focus shifts between foreground and background elements, creating a frantic and disorientating atmosphere. These changes in focus will emphasise the speed and intensity of Sully’s emotions, making the audience feel as though events are spiralling beyond his control. The unstable visuals mirror his unstable state of mind, helping the audience experience his panic and confusion directly.
The contrast between Sully’s earlier behaviour and his final actions is central to the emotional impact of the animation. At the beginning, he is shown as upright, methodical, and emotionally restrained, carrying out orders with precision. By the end, those qualities completely deteriorate as he becomes emotional, irrational, and reckless. This transformation highlights how devastating the revelation truly is for him. I want the audience to understand that Sully’s actions are irreversible and that the murder of the journalist is a point of no return. The final sequence should feel tragic because the audience can see the complete destruction of the person Sully once was.
To reinforce the themes of manipulation and guilt, I also plan to include dossier-style flashes of unsettling visuals throughout the ending. These flashes will briefly portray Sully as a traitor through distorted documents, propaganda imagery, and fragmented shots that appear almost intrusive. The sequence is intended to create uncertainty around Sully’s role in the story and encourage the audience to question whether the government was the only source of corruption. By presenting Sully in this disturbing and accusatory way, the film suggests that he may also bear responsibility for the violence and deception he participated in. This leaves the audience with an unsettling moral question about whether Sully is a victim of manipulation, a villain created by the system, or both at the same time.
Pre Production XV -
The flashback sequence in my stop motion animation is designed to explore Sully’s origins and reveal how he became involved in the military. This is also the first time the audience sees Sully’s face clearly, making it an important turning point within the narrative. I wanted this reveal to feel significant because up until this point Sully has appeared emotionally distant and almost anonymous, which reflects how deeply he has buried his personal identity beneath his role as a soldier. By finally showing his face during the flashbacks, the audience is encouraged to view him in a more human and vulnerable way. This scene acts as Sully’s genesis story, allowing the audience to understand the experiences and influences that shaped him before the events of the main narrative.
When animating the flashbacks, I wanted the sequence to feel disorientating and fragmented in order to reflect the instability of memory. Instead of using smooth and calm pacing, I chose to animate the scene with fast cuts and abrupt transitions between shots. This creates the impression that the memories are flooding back uncontrollably rather than being calmly remembered. I wanted the audience to feel slightly overwhelmed by the pace of the sequence so they could experience Sully’s emotional state more directly. The fragmented editing style also mirrors the confusion surrounding his identity and his uncertainty about whether the choices he made were truly his own.
To strengthen this effect visually, I used a mixture of focused and out of focus shots throughout the flashback sequence. The shifting focus symbolises the way memories can become distorted over time, with certain details appearing clear while others remain blurred and uncertain. I deliberately alternated between sharp close ups and softer unfocused imagery to create visual instability and tension. This technique also helps guide the audience’s attention toward emotionally significant details, such as Sully’s facial expressions, military insignia, or recruitment documents. The use of focus changes gives the animation a more cinematic style while also reinforcing the psychological themes within the film.
Close up shots are especially important within this sequence because they allow the audience to connect emotionally with Sully for the first time. By framing his face closely, I wanted to capture subtle expressions of nervousness, ambition, and vulnerability as he enlists in the military. These close ups contrast heavily with the wider and more detached framing used earlier in the film, where Sully appeared emotionally cold and controlled. The audience is therefore able to see the difference between the younger version of Sully and the hardened character he eventually becomes. This creates dramatic irony because the audience understands that the hopeful version of Sully shown in the flashback will later be manipulated and psychologically damaged by the fabricated war.
The overall purpose of the flashback sequence is to deepen the audience’s understanding of Sully while also maintaining a sense of unease. Although the scene provides context about his past, I did not want it to feel comforting or nostalgic. Instead, the fast pacing, distorted focus, and intense close ups create an unsettling atmosphere that foreshadows his eventual breakdown later in the film. By presenting his memories in this fragmented and unstable way, the audience begins to question whether Sully’s identity was shaped entirely by manipulation from the beginning. This makes the flashbacks important not only for character development, but also for reinforcing the wider themes of control, propaganda, and psychological deterioration throughout the stop motion animation.
Pre Production XVI -
Production XVI -
The scene where Sully receives an honourable discharge from the military is important because it represents the transition between his structured military life and the uncertainty of civilian life. I wanted this sequence to feel emotionally restrained rather than dramatic because Sully has been conditioned to suppress his emotions. Through the animation, I showed him quietly collecting his belongings and leaving the military environment without celebration or recognition. This creates a sense of emptiness surrounding the moment, suggesting that despite his service, Sully has lost a clear sense of identity. The scene also acts as a bridge between his past as a soldier and the morally questionable life he later enters as a mercenary.
To animate this sequence, I relied heavily on close up shots and framing choices to communicate emotion without dialogue. I used close ups of Sully’s hands, uniform, and facial expressions to emphasise subtle feelings of uncertainty and emotional detachment. However, I also chose to repeatedly frame Sully from behind as he walks away from military spaces and into civilian environments. This backside shot was important because it reintroduced the mystery surrounding his character after the audience had briefly seen his face during the flashbacks. By obscuring his identity again, I reinforced the idea that Sully is emotionally closed off and disconnected from society, while also maintaining intrigue around his future actions and motivations.
The next stage of visual storytelling establishes that Sully has taken his military expertise and used it to benefit himself financially as a mercenary. I wanted this sequence to immediately communicate that Sully never truly escaped the violence and discipline of military life, but instead redirected those skills into illegal and morally questionable work. In the scene, Sully is contacted by British intelligence, although at this stage he believes somebody simply wants a difficult task completed. Through visual storytelling, I aimed to create tension around the idea that Sully is unknowingly becoming involved in something far larger than himself. The unusually high payment offered to him hints that the mission carries significant danger and secrecy.
I used red lighting throughout this sequence to establish a sense of passive danger and surveillance. The red tones create the impression that somebody is constantly watching Sully and manipulating events from the shadows. Rather than relying heavily on dialogue, I used written signage and visual communication to tell the story. Notes slipped under Sully’s door reveal that the intelligence services know he is a mercenary and an ex soldier despite him living a quiet life away from public attention. This creates an unsettling atmosphere because it suggests Sully can never fully escape his past. The use of written messages also gives the sequence a colder and more clinical feeling, reflecting the calculated methods of the intelligence organisation.
To make the storytelling visually engaging, I experimented with a variety of camera techniques including close ups, panning shots, and focusing in shots. Close ups allowed me to highlight important details such as the notes, Sully’s reactions, and symbolic objects within the environment. Panning shots helped create suspense by slowly revealing information within the scene, while focusing in shots directed the audience’s attention toward significant pieces of evidence and hidden details. These techniques also helped maintain a cinematic quality within the stop motion animation, making the audience feel actively involved in uncovering the mystery alongside Sully. The combination of camera movement and red lighting creates a tense atmosphere that foreshadows the larger conspiracy later revealed in the story.
The next piece of visual storytelling focuses on revealing that Sully is still trapped under the control of British intelligence. Even after leaving military service, he remains psychologically and professionally tied to the organisation. I continued using red lighting throughout these scenes to symbolise danger, manipulation, and surveillance. The lighting creates the impression that Sully is still living under the shadow of the intelligence services and can never fully separate himself from them. I wanted the atmosphere to feel uncertain and oppressive so the audience would understand that Sully’s freedom is largely an illusion.
The storytelling in this section is presented through close ups and shots slowly coming into focus of various news articles, military documents, and propaganda materials. The audience sees headlines discussing whispers of British funding overseas, communism, paramilitary British groups in the Balkans, and controversial foreign investments that anger taxpayers. I deliberately used close up framing on these materials so the audience would carefully absorb the details and piece together the conspiracy themselves. The use of focus transitions also reflects the gradual uncovering of truth as hidden information begins surfacing publicly. Rather than exposing the revelation through direct exposition, I wanted the audience to feel as though they were discovering classified information alongside Sully.
This sequence acts as the final revelation within the story. Through the montage of documents and media coverage, the audience discovers that the intelligence services had been secretly funding and organising paramilitary groups in the Balkans using war bonds, taxes, and overseas investments. The government manipulated public resources to support hidden military operations and maintain media influence abroad. The most disturbing revelation is that when Sully believed he was fighting foreign enemies, he was actually killing British soldiers involved in covert operations. This completely changes the audience’s understanding of the war and reinforces the themes of manipulation, corruption, and psychological control present throughout the animation.
Another important part of the visual storytelling involved filming laptop screens displaying messages such as “No person found”, “No results available”, and “User not found”. These shots reinforce the idea that British intelligence deliberately erased Sully from official databases and public records. I used the same red tone lighting during these scenes to maintain the visual connection between Sully and the intelligence organisation controlling him. The glowing red atmosphere creates a threatening and artificial feeling, almost as if the technology itself has become part of the surveillance system watching Sully.
The laptop sequences are important because they visually communicate that Sully no longer officially exists within society. His identity has been removed and blacklisted to protect the intelligence services from exposure or accountability. I wanted the audience to feel disturbed by how easily a person’s existence could be erased through institutional power. By repeatedly showing failed searches and missing information, the scenes emphasise the secrecy surrounding Sully and the lengths the intelligence organisation went to in order to cover their actions. This also reinforces Sully’s isolation because he has effectively become trapped between identities, unable to fully return to civilian life or openly acknowledge his military past.
To strengthen the dossier style aesthetic, I also filmed additional footage of Sully and other action figures posed in dramatic compositions. These shots were designed to resemble classified military photographs or archived intelligence documents. I intentionally framed the figures stiffly and used harsh lighting to make the visuals appear official and unsettling. The inclusion of filler dossier footage helps expand the world of the animation by suggesting there are extensive hidden records documenting Sully’s activities and the intelligence organisation’s operations. This creates a stronger sense of realism and immersion within the narrative.
The dossier style visuals also encourage the audience to question Sully’s role within the story. By presenting him through surveillance inspired imagery and military style documentation, the audience begins to view him less as a traditional protagonist and more as a potentially dangerous figure shaped by violence and manipulation. I wanted these scenes to blur the line between victim and perpetrator, making the audience uncertain about how much responsibility Sully carries for his actions. The use of archival style footage, red lighting, and fragmented documentation ultimately reinforces the film’s wider themes of corruption, secrecy, and psychological deterioration while giving the stop motion animation a darker and more realistic tone.
Pre Production XVII -
Production XVII -
The first war flashback sequence focuses on Sully and his comrades listening in to enemy radio transmissions while positioned inside a temporary shelter on the battlefield. I animated this scene to slowly build tension and uncertainty before the violence begins. At first, the soldiers believe they are intercepting communication from foreign enemy forces, however Sully gradually realises that the voices speaking through the radio are communicating in English rather than the expected native Balkan language. This moment is important because it acts as the earliest clue that the war may not be what it appears to be. I wanted the audience to feel the same confusion and discomfort as Sully as he begins questioning the reality around him. Through the animation, I showed Sully becoming visibly uneasy while the other soldiers remain unaware of the significance of what they are hearing.
To strengthen the suspense within this sequence, I used a variety of cinematography techniques including close ups, medium long shots, establishing shots, and tracking shots. The close ups focused on the radio equipment, Sully’s facial expressions, and the reactions of the soldiers in order to create a more intimate and tense atmosphere. Establishing shots were used to show the environment surrounding the soldiers and remind the audience of the isolation and vulnerability of their position. I also incorporated tracking shots moving across the bunker area to increase immersion and create the feeling that danger was slowly approaching. The combination of these camera techniques helped maintain suspense while visually communicating Sully’s growing paranoia and confusion.
The tension immediately escalates when the British paramilitary group suddenly attacks Sully and his comrades, hailing bullets into the shelter from outside. I animated this sequence with rapid movements and chaotic pacing to make the audience feel overwhelmed by the violence. During the attack, Sully instinctively dives underneath a table to avoid the incoming gunfire. This moment was important because it humanises Sully by showing fear and vulnerability before he regains control of the situation. After briefly taking cover, Sully manages to get back onto his feet, retrieve his weapon, and return fire against the attackers. I wanted this sequence to demonstrate both Sully’s survival instincts and the brutality of the battlefield environment.
The cinematography during the attack sequence was designed to increase intensity and realism. Close up shots were used to capture Sully’s panic and determination while medium long shots established the destruction occurring throughout the shelter. I also used tracking shots following Sully’s movements as he scrambled for cover and searched for his weapon. These moving shots helped create urgency and placed the audience directly within the action. The combination of fast paced animation and varied camera angles created a frantic atmosphere that reflects the confusion of combat while also foreshadowing the revelation that the supposed enemy forces were actually British affiliated paramilitary soldiers.
Another important war flashback scene shows Sully dragging an injured comrade across the battlefield while enemy soldiers continue firing toward them. I animated this sequence to highlight Sully’s physical endurance, courage, and determination under pressure. Throughout the scene, Sully continues shooting back at the enemy while simultaneously attempting to rescue his fellow soldier. The sequence presents Sully as more than ordinary army material because he takes responsibility for protecting others even while facing overwhelming danger himself. I wanted the audience to admire Sully’s resilience while also understanding the extreme psychological and physical pressure he experienced during the war.
The battlefield sequence also emphasises the chaotic and unpredictable nature of survival during combat. Sully miraculously avoids incoming bullets while struggling through the environment with his wounded comrade. Eventually, he dives behind a massive rock to regain his breath and prepare to fight back against the enemy forces. This moment acts as a brief pause within the action and allows the audience to witness Sully’s exhaustion and desperation more clearly. Through subtle movements and close framing, I aimed to communicate the physical strain and emotional pressure Sully is enduring while still forcing himself to continue fighting.
To create a cinematic atmosphere during this sequence, I again used a wide range of cinematography techniques including close ups, medium long shots, establishing shots, and tracking shots. The close ups focused on Sully’s expressions and the injuries sustained by his comrade in order to make the audience emotionally invested in their survival. Medium long shots established the scale of the battlefield and showed how exposed the characters were to enemy fire. Tracking shots followed Sully’s movements through the battlefield to create immersion and maintain tension. I wanted the audience to feel as though they were moving through the war alongside Sully rather than simply observing it from a distance.
The visual storytelling within this sequence also reinforces Sully’s role as a capable and selfless soldier before his later psychological deterioration. Despite the overwhelming danger surrounding him, Sully continues prioritising the safety of others and demonstrates leadership under pressure. This creates a strong contrast between the heroic version of Sully shown during the flashbacks and the emotionally unstable version seen later in the film. By portraying Sully as highly skilled and dependable during the war scenes, the audience is encouraged to sympathise with him while also understanding how devastating the eventual revelation becomes for his identity and morality.
Another action focused flashback scene involves Sully and another soldier exchanging gunfire with enemy forces before narrowly surviving a nearby explosion. This sequence was designed primarily to showcase creativity, action, and intensity within the stop motion animation. I wanted the explosion to feel visually dramatic despite the limitations of practical effects, so I experimented with different materials to simulate debris and thermal energy. To create the snow particles displaced by the explosion, I used a long strip of cotton that could be manipulated frame by frame to imitate the movement of smoke, ash, and flying snow. I also used red plastic sweet wrappers to create a glowing thermal effect within the explosion itself.
The practical effects used during this sequence helped give the explosion a stylised and imaginative appearance while maintaining the gritty tone of the film. I deliberately chose materials that would create exaggerated movement and texture because I wanted the explosion to feel larger and more visually impactful. The use of the cotton and red plastic wrappers added layers of depth and motion that made the scene appear more dynamic. This sequence also demonstrates the creative problem solving involved in stop motion animation, as ordinary household materials were transformed into convincing battlefield effects through careful lighting and frame by frame movement.
For the cinematography within the explosion scene, I mainly relied on close up shots to create a more personal and immersive atmosphere. By positioning the camera close to Sully and the other soldier, I was able to capture their reactions and make the audience feel trapped within the intensity of the explosion. The close framing also increased tension because the audience could clearly see the danger surrounding the characters without fully knowing whether they would survive. Through this approach, I wanted the action to feel emotionally engaging rather than simply visually exciting.
The final war flashback sequence focuses on Sully lifting part of a damaged vehicle off an injured soldier during a heavy artillery battle. This scene is intended to highlight Sully’s perseverance, physical endurance, and willingness to sacrifice himself for others. Throughout the sequence, artillery continues exploding around him while he struggles to free the trapped soldier. I wanted the audience to understand the level of suffering Sully endured during the war and how these experiences shaped his later psychological state. The slow and painful nature of the scene contrasts with the faster paced gunfight sequences and instead focuses on physical exhaustion and determination.
To animate the battlefield debris, I used torn up tissue pieces placed across the set while flour was used to create the snowy background environment. I chose tissue for the foreground debris because flour alone would have been difficult to animate due to its fine texture and lack of structure. The tissue pieces allowed me to create more controlled and believable movement within the environment. During the lifting sequence itself, I used extremely small and gradual movements to show Sully struggling under the weight of the vehicle. These minuscule adjustments helped portray fatigue, strain, and desperation realistically while making the animation appear more grounded and physically convincing.
The cinematography for this scene relied heavily on close ups to create tension and establish a personal atmosphere between Sully and the injured soldier. The close framing allowed the audience to focus on Sully’s physical struggle and emotional determination while also emphasising the desperation of the situation. I also used medium long shots to establish the wider battlefield environment and remind the audience that the artillery fight continued around them. The contrast between the intimate close ups and the wider battlefield shots helped reinforce the overwhelming scale of the conflict while still keeping the audience emotionally connected to Sully’s individual struggle.
Pre Production XVIII -
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