The material for the model was cellular card packing material, approx 30mm thick, small pieces of corrugated card (also from the Ikea packaging), and a piece of card from a box in which garlic bulbs had been delivered. I used a small sheet of perspex, borrowed from Alex from the front of his cabinet of curiosity (itself a form of diorama).
I used the camera mount wall from the three Yi model, so that I had ready made windows and camera locations. This meant that the width and height were the same as the three Yi model, although the depth was determined by the size of the pieces of card used for the floor surface (so slightly deeper than the previous model).
The assembly was covered in black felt to eliminate light ingress through the quickly constructed pinned joins.
I filmed with the camera’s inbuilt fish-eye correction disabled – this provided a wider field of view, but greater distortion of the image. As usual, I then “corrected” the footage via Adobe AfterEffects, using the “Optics Compensation” effect [reverse lens distortion box ticked, FOV: 77].
As previously, several of the cameras stopped working during filming (discussed further in next post). The footage below takes the complete recordings managed to be obtained from each camera, and alters their speeds so as to play within two minutes. Therefore the speed of each frame of the triptych is determined by the malfunctions of the cameras.
In the footage above, the bright strip along the base of the back wall is caused by the thick perspex floor covering. I tried to cover all of the edges of the perspex to minimise this, but the effect is still there. Additionally, the use of perspex, rather than sticky film, as the shiny floor covering created very strong and sharp reflections of the sunlight. I prefer the mottled effect of the light reflected from the sticky film. I will either ensure I use this, or will source a “found” material that has a similar effect.