Objects, People, and Places - Frame-by-Frame Stop Motion: The Guide to Non-Traditional Animation Techniques - page 88

FIG 6.7 taped tripod legs and sandbags weighing down the tripod.
a cable release for shooting your camera if you are not hooked up to a
computer controller, so you need not physically come in contact with your
camera during a shoot.
This kind of anchoring is necessary for motion-control systems, operated by
hand or computer, and all lights that need to remain in place, so shadows and
lights do not move in the scene. This is true for all frame-by-frame techniques
from pixilation to time-lapse work to shooting on a stand. It certainly is
possible to shoot without this kind of lock-down approach, but the chances
are that your lights or camera will be blown by the wind, bumped by you or
someone on the set, since these are physically demanding techniques, or
may slip or move on their own over a period of time. After all, it is a wobbly
breathing world and nothing is truly static. An accidental bump can be cause
for a total reshoot. Although I advocate a controlled and stable shooting
space, it is important to note that some of these techniques are being used
in a much more uncontrolled manner these days, and that is the intention of
the filmmakers. This adds a fresh look to the animation and certainly is very
“postmodern” in approach. It is difficult to save a shot with an accidental
camera bump in mid-shot. One approach to rectifying a bump in the camera
is using a frame-grabber program that has an “onionskin” capability. If the
camera moved, then you can try to coax the camera carefully back into place.
This may work if your subject is active. It is much more difficult if the image
has been static. Naturally, planning a cutaway and other filmic solutions can
save a reshoot but you compromised your original intent because you did
not take the time to lock everything down.