The equipment tests continue as we get closer to the look I'm after for the film.
This gets pretty darn close!
Above you see the finished Time Frog verdigris green patina puppet paint job (what else is the color of time?!) more clearly while the rest of the pond set has been blurred in camera with Vasoline© on the edges of the UV protection lens cover and then additionally enhanced in PS with a texture layer blended to multiply in green with burned out edges and erased over the frog.
Christine and I learned a tons in making today's test(s); how to gobo the window light to cut down the glare on the frog's left clock eye (above was my test with a paper watchface over his eye), that hot glue doesn't work on my set as tie down for his hands, that a piece of cardboard with a barcode on it allows us to focus on the plane of the frog's nose area instead of at the camera's field of center, that the pond water needs to stretch to make it more slack in order to ripple when touched between frames, the the whole set and room we are shooting in moves slightly regardless of how little we move--and/or the camera is somehow moving no matter how much we try to lock it down with every frame, that the shaking can be fixed in post production with Adobe After Effects, how to animate the Koi puppet with more minute movements and less often to get him swimming at a slower rate, that animating is far more fun than we thought it would be.
If you were here in the room with us, there is nothing you would rather do than make your own stop motion films.