Problem Solving

Problem - Camera

Problem solving became a constant and essential part of maintaining progress, particularly when unexpected technical issues disrupted my workflow. One of the earliest and most significant challenges I encountered was damaging my phone screen, which I depended on as my primary camera for filming. The cracks caused the display to lag and become intermittently unresponsive, making it difficult to frame shots accurately or control recordings. This issue had the potential to delay my entire project, as I did not have immediate access to alternative equipment, and replacing the device was not a quick or feasible option at the time.

Solving the problem:

Rather than allowing this setback to halt production, I adapted by finding a temporary but effective solution. I carefully applied sellotape across the cracked section of the screen, which helped to stabilise the surface and minimise the impact of the damage. While this did not fully restore the phone’s functionality, it significantly reduced the lag and allowed the touchscreen to respond more consistently. As a result, I was able to continue filming and maintain momentum in my project. Although the solution was not ideal, it demonstrated my ability to think creatively under pressure and find practical ways to overcome obstacles without compromising my overall progress.

Problem - re filming

Filming the scenes of the mercenary arriving at the location and neutralising the guards was the most challenging part of my stop motion FMP. The sequence begins with him arriving at the compound, where I planned to include a flashback of him emerging from the shadows with a suppressed gun. He then enters the building in an establishing shot before confronting the first guard, throwing him onto a table to disarm him and shooting him. As he continues through the corridors, he fights another guard using a series of actions before moving further into the building. These scenes were difficult to film because I kept knocking over parts of the set, had problems with lighting being too bright or too dark, and sometimes misplaced props.

Solving the problem:

To solve these problems, I refilmed parts of the sequence and tested different lighting setups until I found a balance that worked. I used one main light and adjusted the others to improve the overall look of the scene. The fight sequence had to be filmed several times because objects moved out of place and the timing did not look right at first. However, after making adjustments and repeating the shots, I was able to complete the scene successfully and felt satisfied with the final result.

Problem - re filming

As the protagonist moves through the building, I animated small and controlled movements to show that they are alert and cautious. The character pauses at corners, turns their head slightly, and walks in short steps, which required careful repositioning for each frame. When they meet opposition, the pacing becomes faster and more intense by reducing the number of frames between movements. I also focused on making each action connect smoothly so it did not look jumpy, creating a clear contrast between slow tension and fast action. However, this process was challenging because the figures and set were very delicate, and I often accidentally knocked things out of place.

Solving the problem:

To deal with these problems, I had to refilm scenes several times and carefully reset the figures to match their previous positions. I made sure to check the camera angle and lighting before continuing so everything stayed consistent. Although it was frustrating and time consuming, staying patient and focused helped me improve the quality of the animation. In the end, I was able to keep the movements smooth and create a more engaging and controlled sequence.

Problem - lighting

Another issue I encountered during my project involved my lighting equipment, which had begun to show signs of wear and tear over time. In particular, the tinted covering on one of my lights tore, which immediately affected the consistency, colour balance, and overall quality of the lighting in my scenes. This created a noticeable problem, as maintaining controlled and visually cohesive lighting was important for achieving the intended mood and professional look of my footage. Without the tinted layer, the light appeared harsher and less stylised, which risked disrupting the visual continuity across different shots.

Solving the problem:

To resolve this, I took a creative and resourceful approach by repurposing sweet wrappers as a replacement tint. Their translucent material and variety of colours made them surprisingly suitable for diffusing and tinting the light in a similar way to the original covering. I carefully positioned the wrappers over the damaged area and used a hair band to loosely secure them in place. This method prevented additional tearing while still allowing enough flexibility to adjust the positioning when needed. Although unconventional, this solution proved effective in restoring the desired lighting effect and allowed me to continue filming without interruption, demonstrating how everyday materials can be adapted in practical ways for production use.

Problem - damaged material

During the set design process, I encountered several practical challenges, particularly with materials that had become damaged or worn over time, such as bent cardboard structures and scratched or misshapen plastic props. These imperfections posed a real risk to the overall visual quality of my scenes, as they could easily break the illusion I was trying to create and make the set appear unconvincing or poorly constructed. Limited time and resources meant that fully remaking every flawed element was not a realistic option, so I needed to find alternative solutions that would allow me to maintain a high standard of presentation without starting from scratch.

Solving the problem:

To overcome this, I relied heavily on camera techniques to control what the audience could see. By carefully adjusting distance, framing, and perspective, I was able to minimise the visibility of damaged areas and draw attention to the stronger parts of the set. For example, zooming in allowed me to isolate cleaner, more detailed sections, while strategic framing helped exclude imperfections from the shot entirely. I also experimented with scale and depth, placing flawed props further in the background where they would be less noticeable, while keeping more polished elements in focus in the foreground. Through these methods, I successfully preserved the illusion of a cohesive and well crafted environment, demonstrating how thoughtful cinematography can compensate for physical limitations in set design.

Problem - Resource shortage

Resource shortages became a recurring obstacle throughout the project, particularly when I ran out of materials such as cotton, blue tack, and other essential props that I had initially relied on. These shortages disrupted my workflow and forced me to reconsider how I approached the construction of my set and supporting elements. Since replacing these materials immediately was not always possible, I had to find ways to continue progressing without compromising the overall quality of my work. This challenge highlighted the importance of adaptability, as I needed to think carefully about how to use what I had available in a more efficient and imaginative way.

Solving the problem:

Instead of pausing production, I used the situation as an opportunity to develop my resourcefulness and creativity. I began designing and constructing additional props myself, including items such as prop guns, tables, signage, and document pieces that added more detail and realism to the set. I also looked back at older or unused props and found ways to recycle and transform them into something new, modifying their shapes, textures, or purposes to better suit my current needs. This process not only solved the immediate issue of limited resources but also allowed me to expand my collection of custom made assets, ultimately strengthening both the visual depth of my scenes and my ability to problem solve under pressure.

Problem - re filming

As I worked towards finishing a scene, I encountered a problem with controlling the pace, as the combat did not initially feel intense or engaging enough. To address this, I experimented with a range of animation speeds, carefully adjusting the timing to improve the overall impact. I used slower movements to build tension and then increased the speed during key moments in the fight to create a stronger sense of urgency. 

Solving the problem:

This required several refinements, as achieving a balanced and effective rhythm was challenging, but through testing and evaluation I was able to enhance the flow of the sequence to a standard appropriate for work. I also recognised that the ending of the previous scene lacked impact, which reduced the effectiveness of the transition. To solve this, I chose to redo the ending entirely, reanimating the final moment so the protagonist forcefully slams an enemy onto a table. I increased the speed of the movement by reducing the number of frames and slightly exaggerated the poses so the action would read more clearly. This made the motion appear more powerful and sudden, resulting in a more dramatic and satisfying conclusion that strengthened the overall quality of the scene.

Problem - Wasted materials

Not all material related issues had straightforward solutions, and some problems resulted in unavoidable waste. While creating props and special effects, materials such as blue tack, foil, and cotton often became mixed together during the building process, forming clumps that were difficult to manage. These materials were originally intended for specific visual effects such as gunshots or impact details, where each component needed to remain separate to function effectively. Once combined unintentionally, they lost their individual properties and could no longer be shaped or applied in a controlled way, which made them unsuitable for their original purpose.

Solving the problem:

In these situations, I had no practical option other than to dispose of the unusable material and start again with fresh supplies. This was both frustrating and time consuming, as it set back progress and reduced the amount of resources available for future use. The experience made it clear how important organisation and careful handling are when working with multiple materials at once. By reflecting on this, I recognised the need to plan my workflow more effectively, keep materials separated until needed, and maintain a cleaner workspace to prevent unnecessary mixing. This lesson will influence how I approach future projects, helping me reduce waste and work more efficiently overall.

Problem - Props

Another challenge arose when I ordered props intended for flashback scenes, only to find that they arrived at the wrong scale. When placed within the set and viewed through the camera, they appeared noticeably too small and failed to match the proportions of the surrounding elements. This inconsistency disrupted the realism of the scene and made the props look out of place, which weakened the overall visual continuity I was aiming to achieve. Since these props were specifically chosen to support key narrative moments, it was important that they blended convincingly with the rest of the environment rather than drawing attention for the wrong reasons.

Solving the problem:

To resolve this issue, I decided to carry out a series of do it yourself adjustments to improve their appearance and scale. I carefully attached additional pieces of plastic using superglue, building onto the existing structure to increase their overall size and presence. This process required patience and precision to ensure that the added sections looked natural and did not compromise the stability of the props. Although this solution involved extra time and effort, it ultimately allowed me to salvage the original items instead of replacing them entirely. As a result, the modified props appeared more proportionate on camera and contributed more effectively to the believability of the flashback scenes.

Problem - re filming

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.To strengthen this transition, the scene could be re shot with more controlled lighting to increase suspense and stealth. Lowering the overall light levels and using stronger contrast, such as small areas of light within darker spaces, would create deeper shadows for the protagonist to move through. This helps show the change from open combat to a more careful approach and suggests that threats could be nearby but not fully visible. 

Solving the problem:

Small details like dim or flickering lights can guide the viewers attention while still keeping a sense of uncertainty. Adjusting the direction and intensity of the lighting can also highlight the protagonist’s slow and careful movement. Using light from the side or behind can partly silhouette his figure, so only parts of him and the corridor are visible at any time. This controlled visibility makes each step feel more tense and important. By revealing less of the setting and focusing on selected details, the scene can build suspense more effectively and keep the audience waiting for what might happen next.

Problem - Wrong lighting

lighting presented another significant challenge, as many of my scenes initially appeared too harsh and overexposed when viewed through the camera. The intensity of the light created strong highlights and washed out important details, which reduced the overall visual quality and made the footage look unnatural. In some cases, shadows also became too sharp and distracting, further affecting the balance of the composition. This issue made it clear that simply adding more light was not an effective approach, and that careful control of lighting was essential to achieve a more realistic and visually appealing result.

Solving the problem:

To address this, I began experimenting with different lighting techniques to create a more balanced and controlled setup. I reduced the number of light sources to prevent excessive brightness, adjusted their positions to avoid direct glare, and explored ways to soften the overall effect. One particularly effective solution was using a white carrier bag as a makeshift reflector or diffuser. By placing it between the light source and the subject, or using it to bounce light back onto the scene, I was able to spread the light more evenly and reduce harsh contrasts. This simple yet creative adjustment made a noticeable difference, improving the softness and consistency of the lighting and significantly enhancing the overall look of my footage.

Problem - Equipment failure

Equipment failure also had a noticeable impact on my workflow when my tripod broke during production. The mechanism that was designed to hold my phone securely snapped, which made the setup unstable and unreliable for filming. This created a risk of uneven shots and potential damage to my device, while also slowing down the overall filming process. Since the tripod played an important role in maintaining consistent framing and steady footage, losing its full functionality presented a significant obstacle that needed to be addressed quickly in order to avoid further disruption.

Solving the problem:

As a temporary solution, I used tape to tighten the space within the sliding holder so that my phone could still fit securely. This allowed me to continue filming for a short period, although it was not a long term fix and still required careful handling to prevent movement. Eventually, I adapted by switching to a makeshift tripod created from a malleable figurine stand, which I adjusted to support my phone at the necessary angle. While unconventional, this alternative provided enough stability to continue filming and maintain a reasonable level of quality. This experience demonstrated my ability to adapt under pressure and find practical solutions using the resources available to me.

Problem - re filming

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. In contrary the scene crafted didn't satisfy my standards, it was rushed, very choppy and didn't make much sense in terms of understanding the actions. Not only was it poor quality, when I watched it back I couldn't feel the tension. It didn't feel like controlled chaos and the protagonist wasn't well presented as a disciplined combat machine.

Solving the problem:

To solve the problem, the sequence can be adjusted to make the action feel more chaotic while still maintaining stealth and suppression. This can be achieved by introducing unpredictable guard behaviour and brief moments of heightened tension during each encounter, such as sudden turns or unexpected patrol movements. These elements create a sense of instability in the environment, yet the protagonist remains composed and efficient, ensuring the stealth focused tone is preserved throughout. I can also look back on previous scenes to help me emulate the same atmosphere portrayed before.

At the same time, the movement should be smoothed out to make the action less choppy and more fluid. Rather than abrupt transitions between actions, each motion should connect naturally so the protagonist appears to glide through the corridors with control and precision. This continuity helps the stealth feel more realistic and disciplined, while still allowing for moments of chaos around him. The contrast between the earlier fast paced gunfight and this more controlled and seamless approach highlights his versatility as a character.

Problem - Lost props

Losing the computer toy prop during a stop motion production creates a very specific continuity issue, as it is likely a central object within the scene and something the audience will easily recognise. Because stop motion relies on consistency between frames, even a slight difference in the appearance of the computer such as its shape size or colour can become noticeable when the sequence is played back. This makes it difficult to continue filming, especially if earlier shots have already established the prop clearly. The absence of the original computer toy can interrupt the narrative flow and slow down production, as time is spent trying to locate it or deciding how to replace it without making the scene look unrealistic or disconnected from previous footage.

Solving the problem:

To solve this problem, I can create a handmade version of the computer toy or find a spare object that closely resembles it and adapt it for the scene. Using simple materials such as cardboard, I can construct the basic shape of the computer and then refine it with paint and small details to match the original as closely as possible. Alternatively, a similar toy or object can be modified to act as a stand in, focusing on matching the most visible features that the camera will capture. By carefully controlling camera angles, lighting, and focus, I can minimise any noticeable differences and maintain the illusion of continuity. This approach allows filming to continue efficiently while demonstrating adaptability and creative problem solving within the constraints of stop motion production.  

Problem - Equipment failure

When my tripod broke while trying to film a fight scene, it created an immediate technical problem because stability is essential in stop motion, especially during fast paced action. Any slight movement of the camera between frames can ruin the sequence and make the motion look shaky or inconsistent. The fight scene required precise positioning and repeated adjustments, so not having a reliable tripod made it difficult to keep the framing consistent. I initially tried to solve this by using tape to hold my phone in place, building up layers to create a tight space where the phone could sit securely through friction. While this worked to a certain extent, it was not stable enough over time, as the phone could still shift slightly between shots, which risked affecting the smoothness of the animation.

Solving the problem:

To properly fix the issue, I improvised more structured solutions by using a figurine stand as a primary support and a cut out piece of cardboard from a box as a secondary tripod. The figurine stand provided a firmer base and allowed me to hold the phone at a more controlled angle, while the cardboard structure helped stabilise the setup further by supporting the phone from another side. This combination created a more balanced and secure arrangement compared to the tape method, reducing unwanted movement between frames. Although it was not a conventional tripod, this improvised setup allowed me to continue filming the fight scene with greater consistency, showing how adapting with available materials can effectively solve practical problems in stop motion production.

Problem - Filming

Creating the illusion of an outside environment through a window proved to be a challenge when trying to make the animation feel more immersive. The issue was that anything placed outside the window either looked too flat, unrealistic, or clearly artificial, which broke the illusion of depth and made the scene feel more like a set than a believable space. Because the camera captures every detail in stop motion, it became difficult to hide imperfections such as poor scaling, lack of detail, or visible edges of the background. This made the exterior feel disconnected from the interior scene, reducing the overall realism I was aiming for.

Solving the problem:

To overcome this, I experimented with camera positioning and angles rather than relying solely on building a perfect exterior set. By adjusting the camera and carefully framing the window, I was able to limit what the audience could see and focus only on the necessary detail, which in this case was a house. Moving the camera slightly allowed me to hide flaws and avoid showing areas that looked unconvincing, while still suggesting an outside environment. This approach helped create the impression of depth without requiring a fully detailed background, ultimately improving immersion. It showed that controlling perspective and composition can be just as effective as building complex sets when trying to achieve realism in stop motion.

Problem - Construction I

One of the first problems I encountered when constructing my set was the placement of the houses. Initially, the homes were positioned too evenly across the set, which caused the environment to appear artificial and unrealistic on camera. The arrangement lacked variation and depth, making the scene feel flat during filming. This became especially noticeable when experimenting with different camera angles, as the repetitive positioning reduced the realism of the overall environment.

Solving the problem:

To solve this issue, I experimented with placing the houses in different positions throughout the set. By changing the angles and spacing between each building, I was able to create a more natural and believable environment. This also improved my shot selection because the variety in positioning allowed me to capture more dynamic cinematic angles. As a result, the set appeared more immersive and visually realistic during the animation sequences.

Problem - Filming

Filming a walking sequence created a problem when the character appeared to be moving too quickly, which made the motion look unnatural and less believable. In stop motion, the speed of movement is controlled by how small and consistent each adjustment is between frames, so if the steps are too large, the character can seem to jump forward rather than walk. This disrupted the realism of the scene and made the animation feel rushed, especially when viewed alongside slower, more controlled shots. It also became difficult to maintain a natural rhythm, as the full body movement exaggerated the issue and drew attention to the uneven pacing.

Solving the problem:

To solve this, I shifted the focus to close up shots of the character’s feet during the walking motion. By isolating this part of the movement, I was able to make smaller, more precise adjustments between frames, which helped create a smoother and more controlled sense of motion. The close up also reduced how much of the character was visible, meaning any remaining imperfections were less noticeable. This approach not only improved the realism of the walk but also added variety to the sequence through shot changes. It demonstrated how altering framing and focusing on specific details can effectively solve animation issues while enhancing the overall visual quality.Problem - Filming

harsh lighting

Problem - Filming

Accidentally nudging the camera during filming created a major continuity issue, as even the slightest shift in position can disrupt the entire sequence in stop motion. When played back, this kind of movement causes a visible jump in the frame, breaking the illusion of smooth animation and making the scene look unprofessional. The problem was made worse by the limited space on set, where the walls of the set made it easier to accidentally touch or knock the camera while adjusting characters or props. This restriction increased the risk of repeated mistakes and slowed down the filming process, as I had to constantly check whether the framing had been affected.

Solving the problem:

To solve this, I removed the walls of the set to create more space around the camera and filming area. By opening up the set, I reduced the chances of accidentally hitting the camera while working, allowing for more controlled and careful adjustments to the characters. This extra space also made it easier to access different angles without squeezing into tight positions, improving both efficiency and accuracy. As a result, the camera remained more stable throughout filming, and I was able to maintain consistent framing across frames. This solution showed how adapting the physical setup of the set can prevent technical issues and improve the overall quality of the animation.

Problem - Construction II

Another problem I faced was with the roof of one of the houses becoming loose during production. Because the set was handled frequently while animating, parts of the structure gradually weakened over time. The roof began to shift out of place whenever I adjusted the figures or moved equipment nearby. This interrupted filming and risked damaging the continuity of the scene.

Solving the problem:

In order to fix the roof, I carefully applied glue along the edges and secured it back into place. I then allowed the structure enough time to dry properly before continuing production. This repair strengthened the model and prevented further movement during filming. Reinforcing the roof also improved the durability of the house, allowing it to withstand repeated use throughout the animation process.

Problem - Filming

Creating bullet effects using cotton became a problem when the material would not stay attached to the gun, making it difficult to show a consistent firing effect across frames. Because cotton is very light and loose, it would either fall off or shift position too easily, which disrupted the continuity of the action and made the effect look unconvincing. This was especially noticeable in a stop motion sequence, where each frame needs to remain controlled and intentional. The lack of stability also slowed down filming, as I had to keep readjusting the cotton, making it harder to maintain a smooth and believable sequence.

Solving the problem:

To solve this, I experimented with using different sized pieces of cotton and stretching them out to change their shape and texture. By thinning and elongating the cotton, I was able to make it lighter in appearance while also allowing it to grip onto the barrel of the gun more effectively through friction. Letting the cotton hang slightly off the barrel helped it stay in place while also creating a more dynamic and realistic bullet effect, as it looked like the motion was extending outward. This adjustment improved both the stability and visual quality of the effect, allowing me to continue filming with greater consistency and making the action appear more convincing.

Problem - Filming

Dealing with harsh lighting created a significant issue in my stop motion work because the strong light made the set look overly exposed and unrealistic. It also caused sharp shadows and uneven highlights, which drew attention to imperfections in the props and background. In some frames, the brightness would fluctuate slightly, which disrupted continuity and made the animation feel less smooth. This was especially noticeable during close up shots, where the lighting exaggerated textures in a way that did not match the intended mood of the scene. Overall, the harsh lighting reduced the cinematic quality of the animation and made it harder to maintain a consistent visual style.

Solving the problem:

To solve this, I experimented with dimming the lighting by adjusting the camera’s shutter speed, which allowed me to control how much light was being captured in each frame. By slowing the shutter speed, I was able to reduce the intensity of the brightness without needing to constantly change the physical lighting setup on set. This gave me a more balanced exposure and helped soften harsh shadows, resulting in a more natural and visually consistent look. The improvement in image quality made the scenes feel more cohesive and immersive, and because of how effective this method was, I will be using it from now on as my primary approach to managing lighting in stop motion.

Problem - Filming

A problem I faced while animating was finding the correct directional lighting for my scene. At first, the lighting made the characters appear flat and unrealistic, while some areas of the animation became too dark. This affected the overall mood and made it difficult for the audience to focus on the movement and expressions of the characters. I also found that changing the camera angle often caused the shadows and highlights to look inconsistent, which reduced the quality of the final animation.

Solving the problem:

To solve this problem, I experimented with different lighting positions and intensities until I found a balance that suited the scene. I studied reference images and observed how light naturally falls on objects and people from different directions. I then adjusted the lighting settings to create softer shadows and more depth within the animation. By testing the scene from multiple camera angles, I was able to create more consistent and realistic lighting. This improved the overall appearance of the animation and helped guide the viewer’s attention more effectively.

Problem - Construction III

Creating the corridors for the set also presented a significant challenge. At first, I attempted to construct detailed hallways using multiple pieces of cardboard and layered materials. However, the design became difficult to manage because the narrow spaces restricted camera movement and made the corridors appear unrealistic. The complexity of the structure also made it harder to animate figures smoothly within the environment.

Solving the problem:

To solve this problem, I simplified the design by using a single strip of cardboard to represent the hallway. I then added windows and smaller details onto the structure to improve the appearance. This approach made the corridors appear more believable while also making the set easier to film around. The simpler design allowed for smoother camera movement and improved the efficiency of the animation process.

Problem - Filming

One problem I faced was recording around a full set without disturbing the scene or missing important shots. The set contained many props and background details, which made it difficult to move the camera smoothly and capture the animation from the right angles. Sometimes equipment or unwanted objects appeared in the frame, and there was limited space to position the camera properly. This slowed down the recording process and affected the quality and consistency of the footage.

Solving the problem:

To solve this problem, I carefully planned my camera positions before recording and organised the set to create more space to work in. I tested different angles and movements to find the best way to capture the animation without showing unwanted parts of the set. I also adjusted the placement of props and used markers to guide where the camera should move. By taking time to prepare the set and rehearse each shot, I was able to record more smoothly and produce footage that looked more professional and visually clear.

Problem - Filming

A Filming problem I faced while animating was creating a realistic walking sequence. It was difficult to make the figurine’s movements appear smooth and natural because each small movement had to be adjusted frame by frame. The walking motion often looked stiff and unrealistic, which made the animation less believable. I also found it challenging to show the character moving down the corridor without making the scene appear repetitive or unnatural.

Solving the problem:

To solve this problem, I focused on creating the illusion of movement instead of relying only on the walking animation itself. I moved the background slightly between frames and added a gentle swaying motion to the figurine to make it appear as though the character was naturally walking through the corridor. This approach made the movement look smoother and more convincing while reducing the need for complex leg movements in every frame. By combining background movement with subtle body motion, I was able to create a more effective and realistic animation sequence.

Problem - Construction IV

During production, one of the walls became damaged because of general wear and tear from handling the set repeatedly. Over time, the material weakened and parts of the wall began to bend and tear. This affected the appearance of the environment and reduced the overall quality of the set design. Since the wall was visible in several important scenes, it needed to be repaired quickly.

Solving the problem:

To replace the damaged section, I created a completely new wall using cardboard and a box cutter. I found that the box cutter was much more effective than scissors because it produced cleaner and more accurate edges. This improved the quality of the final structure and allowed the replacement wall to appear more professional. The sharper cuts also made assembling the wall much easier and more precise.

Problem - Filming

One problem I faced while recording was using a full body shot during movement scenes. It was difficult to keep the entire figure looking natural and consistent because every part of the body had to move correctly in each frame. Small mistakes in posture or positioning became very noticeable, which made the animation appear unrealistic. I found that the full body shot made the walking sequence more complicated and time consuming to animate effectively.

Solving the problem:

To solve this problem, I changed the camera angles and used a medium long shot along with close ups of the legs. This allowed me to focus on the most important parts of the movement without needing to animate the entire body in detail at all times. The closer shots made the movement appear smoother and more realistic while also helping to hide small imperfections in the animation. By varying the camera shots, I was able to create a more professional final sequence that maintained the audience’s attention and improved the overall quality of the animation.

Problem - Filming

While creating my animation, I encountered issues with continuity and keeping the camera angles and movements consistent throughout a sequence. Small changes in the camera position between shots caused the animation to look uneven and disconnected. This made some scenes appear confusing because the movement and framing did not flow smoothly from one shot to the next. It was challenging to maintain the same positioning and timing across every frame, especially when filming over a long period of time.

Solving the problem:

To solve this problem, I carefully planned each shot before recording and used reference points to keep the camera in the same position throughout the sequence. I checked previous frames regularly to make sure the angles and movements remained consistent. I also used a tripod and marked camera positions to reduce accidental movement during filming. By staying organised and reviewing the footage as I worked, I was able to improve continuity and create smoother transitions between shots, making the final animation appear more professional and realistic.

Problem - Filming

During the animation process, I noticed that a cable was visible in the background of one of my shots. This distracted from the scene and reduced the professional quality of the animation because the cable broke the illusion of the environment I was trying to create. Since the shot was stationary, the cable remained visible throughout the sequence and became more noticeable when reviewing the footage during editing.

Solving the problem:

To solve this problem, I used editing software to remove the cable from the background frame by frame. Because the camera did not move during the shot, I did not need to use camera tracking, which made the editing process simpler and more effective. I carefully erased the cable while keeping the background looking natural and consistent. This improved the overall appearance of the animation and helped maintain the realism and immersion of the final scene.

Problem - Construction V

Another issue occurred when the layering on one of my walls failed unexpectedly. Due to the messiness of the workspace and the limited space available, I accidentally stepped on part of the wall after standing up from filming. This crushed the layered cardboard structure and weakened the design significantly. As a result, the wall lost its shape and stability.

Solving the problem:

To repair the damage, I used excess cardboard to reinforce the structure from behind. Adding additional layers strengthened the wall and helped it regain its original form. This solution not only repaired the damage but also improved the durability of the wall overall. After reinforcing it, the structure became more stable and less likely to collapse during filming.

Problem - Construction VI

When constructing the Balkan set, I created mountains to establish the snowy landscape. However, this process became difficult because the mountains failed to dry properly. The wet materials caused the structure to become weak and unstable, especially since I was running low on resources at the time. The mountains struggled to support themselves and frequently collapsed when moved.

Solving the problem:

To solve this issue, I improvised by using cardboard cut outs alongside water bottles to create a supporting stand underneath the mountains. This additional support provided the structure with greater stability and prevented it from collapsing. Although the original design was fragile, the reinforced base allowed the mountains to remain upright throughout filming. This solution also demonstrated my ability to adapt creatively when materials were limited.

Problem - Snow I

When constructing my snowy set, I realised that the bluetac I was using to hold objects in place kept sticking to the powder I had chosen as snow. This caused the set to look messy and unrealistic because the powder would clump together and expose parts of the set underneath. It also made it difficult to position the characters properly without disturbing the surface of the snow. The problem affected the overall appearance of the scene and made the set harder to work with during filming.

Solving the problem:

To solve this problem, I decided to use the powder only for the background areas where the characters would not stand. For the foreground, I used torn pieces of tissue and paper because the texture appeared softer and more realistic on camera. The fuzzy texture helped create a convincing snow effect while also allowing the characters to stand more securely without damaging the set. This solution improved both the practicality and realism of the snowy environment. This was also helpful when animating scenes where I showed the characters legs, as the tissue and paper didn't affect the blue tac and character stability.

Problem - Filming

When recording the snowy scenes, I had trouble controlling the exposure because the bright white environment reflected too much light into the camera. This caused parts of the footage to appear overly bright and lose detail, making the scene look unrealistic. The harsh lighting also reduced the atmosphere of the animation and made it difficult to achieve the cinematic style I wanted. Because snow reflects a large amount of light, balancing the camera settings became challenging during filming.

Solving the problem:

To solve this problem, I adjusted the camera settings by lowering the ISO and shutter speed. Reducing the ISO helped decrease the brightness and prevented the footage from becoming too grainy or overexposed. Changing the shutter speed also allowed the camera to capture the scene more clearly and maintain better detail within the snowy environment. These adjustments improved the overall quality of the footage and helped create a more balanced and professional looking scene.

Problem - Construction VII

Creating the snow for the set was another challenging aspect of production. I mainly used flour because it resembled snow effectively on camera, but the fine texture caused it to spread everywhere across the workspace. This created a messy environment and made it difficult to maintain continuity between scenes. The flour also became difficult to clean up after filming sessions.

Solving the problem:

To manage this problem, I discovered that using a dust pan was an effective way of collecting the flour quickly. Since the flour did not easily stick to the surface of the dust pan, it could be gathered efficiently without spreading further. This made cleaning the set significantly easier and helped maintain a more organised workspace. As a result, I was able to continue filming with fewer interruptions.

Problem - Snow II

The background of my set originally looked too empty and lacked detail, which made the environment appear unrealistic and unfinished. There was very little variation within the scene, so the animation did not feel immersive or visually interesting. Without enough objects in the background, the set looked flat and failed to create the atmosphere I wanted for the snowy location.

Solving the problem:

To improve this, I collected rocks from my garden and placed them around the set to make the environment feel fuller and more natural. The rocks added texture and detail to the scene, helping to create a more believable outdoor setting. Their different shapes and sizes also made the set appear less empty and gave the animation more visual depth. This helped the overall scene feel more realistic and engaging for the audience.

Problem - Snow III

Even after adding rocks to the set, the backdrop still felt empty and lacked depth. The scene appeared too small because there was nothing in the distance to suggest a larger environment beyond the foreground. As a result, the animation did not fully create the illusion of an outdoor snowy landscape, and the background looked unfinished.

Solving the problem:

To solve this issue, I decided to create mountains to place in the background of the set. Adding mountains helped create a stronger sense of scale and depth within the environment. This made the set appear larger and more realistic while also improving the visual composition of the scene. The mountains helped guide the audience’s attention further into the background and made the environment feel more complete.

Problem - Filming

A problem I ran into when recording the scenes set in the Balkans was creating the illusion of scale within a small set. The environment looked limited and one dimensional because there was not enough distance or depth visible within the frame. This made the scene feel unrealistic and reduced the effectiveness of the setting. It was difficult to make the audience believe the location was a much larger outdoor environment when the set itself was small.

Solving the Problem:

To solve this problem, I used different props such as rocks, bikes, and other objects to help create depth within the scene. By placing these items further back in the set, I was able to make the environment appear larger and more realistic. The arrangement of the props helped guide the viewer’s eye deeper into the frame and created a stronger sense of perspective. This improved the illusion of scale and prevented the set from appearing flat or empty.

Problem - Snow IV

Creating the mountains was difficult because I struggled to make all the different parts connect naturally. At first, the mountains looked separate from the rest of the set, which reduced the realism of the environment. The edges between the mountains and the ground looked too obvious, making the scene appear artificial rather than like a continuous snowy landscape.

Solving the problem:

To solve this problem, I used long thin pieces of tissue to blend the mountains into the rest of the set. The tissue helped smooth the transitions between different parts of the environment and created the appearance of connected snowy surfaces. By layering and shaping the tissue carefully, I was able to make the mountains look more realistic and integrated into the scene. This improved the overall quality of the set and helped create a more believable animation environment.

Problem - Filming

Another problem I experienced while filming was controlling the white balance within the scene. The lighting originally made the footage appear too white and harsh, which reduced the mood and atmosphere I wanted to create. The excessive brightness removed detail from the environment and made the animation look less cinematic. As a result, the overall tone of the scene did not match the tense atmosphere I was aiming for.

Solving the problem:

To solve this issue, I simplified the lighting setup and used only one light source during filming. This reduced the harshness within the scene and created stronger shadows and contrast, which helped improve the atmosphere. Using a single light source also made the scene feel more dramatic and cinematic while giving the environment a more realistic appearance. This adjustment greatly improved the mood of the animation and helped create a more visually effective final shot.

Problem - Construction VIII

While animating the figures on the snowy set, I realised that flour alone was difficult to work with because the figures would sink or disturb the surface too easily. At the same time, using only tissue created problems with continuity because the texture appeared too uneven and unrealistic between frames. This made maintaining smooth animation particularly challenging.

Solving the problem:

To overcome this issue, I created a platform by layering strips of tissue and wetting them before applying additional layers on top. Once dried, the structure formed a solid base that was stable enough for the figures to move across. I then added torn up pieces of tissue on top of the platform to create texture and improve the snowy appearance. This combination acted as a middle ground between flour and tissue, allowing the set to appear realistic while also functioning effectively for animation.

Problem - Editing I

When editing my stop motion animation, one major problem I faced was running out of memory space on my phone. Because stop motion requires hundreds of individual photographs, my storage quickly became full, which slowed down my device and made it difficult to continue shooting smoothly.

Solving the problem:

To solve this issue, I regularly transferred my production files onto Adobe Premiere Pro for editing. This allowed me to organise my images into sequences and begin assembling the animation professionally while also freeing up storage on my phone. Moving the files onto Premiere Pro improved the workflow because I could edit more efficiently using a larger screen and professional tools such as timeline editing, sound syncing, and transitions.

Problem - Editing II

Another problem I encountered was the amount of unnecessary photos building up in my camera roll during production. Since stop motion involves taking many repeated shots to create smooth movement, I often ended up with blurred images, duplicate frames, or accidental photographs that were not needed.

Solving the problem:

To manage this, I manually went through my camera roll and deleted unwanted photos one by one. Although this process was time consuming, it helped create more storage space and made it easier to organise the remaining images for editing. It also reduced confusion when importing files into Premiere Pro because only the correct frames were left in the sequence.

Conclusion -

Throughout the production process, problem solving became one of the most important and demanding aspects of the entire animation. At the beginning, the challenges felt manageable, however as the animation progressed, every stage became increasingly difficult. The growing size and weight of the set created constant technical issues during filming, and the more complex the scenes became, the more problems started to arise. At times, these issues felt impossible to solve and created a great deal of stress, as I genuinely believed they would completely hinder my progress and prevent me from finishing the project altogether.

As filming continued, I found myself constantly adapting and finding new solutions just to keep the production moving forward. Every problem required patience, experimentation, and persistence, especially when equipment limitations and the physical demands of animation slowed down the workflow. Despite overcoming many obstacles during production, the editing stage introduced even stronger challenges. Limited memory space on my phone, alongside my still developing skills with Adobe Premiere Pro, made the post production process extremely difficult and frustrating. Technical issues during editing often caused setbacks that were just as stressful as the filming process itself.

Overall, this project pushed me further than I expected. I was constantly bending over backwards trying to find solutions, straining my eyes for hours at a time, and losing sleep attempting to fix problems that seemed endless. There were moments where I spent huge amounts of time animating scenes, only to discover that the footage was unusable afterwards. That became the one challenge I could not overcome. No matter how much I tried, I could not salvage any of the redacted recordings, and losing that footage was one of the most difficult setbacks of the entire project. Even so, the experience taught me how demanding animation can truly be, and how perseverance is essential when facing continuous creative and technical problems.