Stop Motion Animation Created by John Park
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Animation: Types
Animation: Animation is a dynamic medium in which images or objects are manipulated to appear as moving images. In traditional animation, images are drawn or painted by hand on transparent celluloid sheets to be photographed and exhibited on film. Today most animations are made with computer generated (CGI). Commonly the effect of animation is achieved by a rapid succession of sequential images that minimally differ from each other. Apart from short films, feature films, animated gifs and other media dedicated to the display moving images, animation is also heavily used for video games, motion graphics and special effects. The history of animation started long before the development of cinematography. Humans have probably attempted to depict motion as far back as the Paleolithic period. Shadow play and the magic lantern offered popular shows with moving images as the result of manipulation by hand and/or some minor mechanics Computer animation has become popular since toy story (1995), the first feature-length animated film completely made using this technique. Types: Traditional animation (also called cel animation or hand-drawn animation) was the process used for most animated films of the 20th century. The individual frames of a traditionally animated film are photographs of drawings, first drawn on paper. To create the illusion of movement, each drawing differs slightly from the one before it. The animators' drawings are traced or photocopied onto transparent acetate sheets called cels which are filled in with paints in assigned colors or tones on the side opposite the line drawings. The completed character cels are photographed one-by-one against a painted background by rostrum camera onto motion picture film. -
Overview of History of Irish Animation
Overview of History of Irish Animation i) The history of animation here and the pattern of its development, ii) ii) The contemporary scene, iii) iii) Funding and support, iv) iv) The technological advancement, which can allow filmmakers do more and do it more excitingly, v) v) The educational background. i) History and Development. The history of animation in Ireland is comparable to the history of live action film in Ireland in that in the early years it offered the promise of much to come and stopped really before it got started; indeed in the final analysis animation has even far less to show for itself than its early live action cousin. One outstanding exception is the pioneering work of James Horgan. Horgan became involved in cinema at the end of the 19th century when he acquired a Lumiere camera and established his own moving picture exhibition company for the south show to his audiences - mostly religious events. However soon his eager mind began to turn to the Munster region. As well as projecting regular international shows, Horgan shot local footage to look into cinematography in a scientific way and in fact he made some money by patenting a cog for film traction in the camera, which was widely used. He also experimented with Polaroid film. He then began to dabble in stop frame work - animation - around the year 1909 and considering that the first animation was made in 1906, this is quite significant. His most famous and most popular piece was his dancing Youghal Clock Tower - where the town's best known landmark has to hop into the frame and "manipulate" itself frame by frame into its rightful place in the main street in Youghal. -
Stop Motion: Craft Skills for Model Animation Susannah Shaw
Stop Motion Focal Press Visual Effects and Animation Debra Kaufman, Series Editor A Guide to Computer Animation: for tv, games, multimedia and web Marcia Kuperberg Animation in the Home Digital Studio Steven Subotnick Digital Compositing for Film and Video Steve Wright Essential CG Lighting Techniques Darren Brooker Producing Animation Catherine Winder and Zahra Dowlatabadi Producing Independent 2D Character Animation: Making & Selling a Short Film Mark Simon Stop Motion: Craft skills for model animation Susannah Shaw The Animator’s Guide to 2D Computer Animation Hedley Griffin Stop Motion Craft skills for model animation Susannah Shaw Modelmaking and animation sequences created and photographed by Cat Russ and Gary Jackson, ScaryCat Studio Illustrations Tony Guy and Susannah Shaw Focal Press An imprint of Elsevier Linacre House, Jordan Hill, Oxford OX2 8DP 200 Wheeler Road, Burlington MA 01803 First published 2004 Copyright # 2004, Susannah Shaw. All rights reserved The right of Susannah Shaw to be identified as the author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988 No part of this publication may be reproduced in any material form (including photocopying or storing in any medium by electronic means and whether or not transiently or incidentally to some other use of this publication) without the written permission of the copyright holder except in accordance with the provisions of the Copyright, Designs and Patents Act 1988 or under the terms of a licence issued by the Copyright Licensing Agency Ltd, 90 Tottenham Court Road, London, England W1T 4LP. Applications for the copyright holder’s written permission to reproduce any part of this publication should be addressed to the publisher Permissions may be sought directly from Elsevier’s Science and Technology Rights Department in Oxford, UK: phone: (þ44) (0) 1865 843830; fax: (þ44) (0) 1865 853333; e-mail: [email protected]. -
The Uses of Animation 1
The Uses of Animation 1 1 The Uses of Animation ANIMATION Animation is the process of making the illusion of motion and change by means of the rapid display of a sequence of static images that minimally differ from each other. The illusion—as in motion pictures in general—is thought to rely on the phi phenomenon. Animators are artists who specialize in the creation of animation. Animation can be recorded with either analogue media, a flip book, motion picture film, video tape,digital media, including formats with animated GIF, Flash animation and digital video. To display animation, a digital camera, computer, or projector are used along with new technologies that are produced. Animation creation methods include the traditional animation creation method and those involving stop motion animation of two and three-dimensional objects, paper cutouts, puppets and clay figures. Images are displayed in a rapid succession, usually 24, 25, 30, or 60 frames per second. THE MOST COMMON USES OF ANIMATION Cartoons The most common use of animation, and perhaps the origin of it, is cartoons. Cartoons appear all the time on television and the cinema and can be used for entertainment, advertising, 2 Aspects of Animation: Steps to Learn Animated Cartoons presentations and many more applications that are only limited by the imagination of the designer. The most important factor about making cartoons on a computer is reusability and flexibility. The system that will actually do the animation needs to be such that all the actions that are going to be performed can be repeated easily, without much fuss from the side of the animator. -
Stop-Motion Animation an Introduction What Is Animation?
Stop-motion Animation An Introduction What is Animation? In its simplest form, animation is essentially making something that doesn’t move (inanimate) look like it is moving (animate). This can be done through repeated drawings or paintings (traditional 2D), using puppets or clay (stop-motion) and using computer programmes and software (CG and 3D). All of these methods have one aim in mind: to create ‘the illusion of life’. Key Resource: The Evolution of Animation The following video shows how animation has evolved from it’s very first days using contraptions like the ‘Zoetrope’. Whilst you watch these clips, think about the different types of animation used. How many of these films do you recognise? The Evolution of Animation 1833-2017 https://www.youtube.com/watch?v=z6TOQzCDO7Y Many older animations are available to watch on Youtube, such as ‘Gertie the Dinosaur’ and ‘Felix the Cat’, and it’s important to appreciate these as being the roots of modern animation. Younger Animators might also get a kick out of watching some classic ‘Looney Tunes’ cartoons. What is movement? A movement is when something goes from point A to point B in a certain amount of time. The amount of time it takes dictates how fast that movement is. In other words, if something goes from point A to B in a short amount of time then it is a fast movement, and if it takes a long time then it is a slow movement. Experiment: Try out some actions like waving, spinning in a circle and walking all at different speeds. -
Japanese Cinema at the Digital Turn Laura Lee, Florida State University
1 Between Frames: Japanese Cinema at the Digital Turn Laura Lee, Florida State University Abstract: This article explores how the appearance of composite media arrangements and the prominence of the cinematic mechanism in Japanese film are connected to a nostalgic preoccupation with the materiality of the filmic image, and to a new critical function for film-based cinema in the digital age. Many popular Japanese films from the early 2000s layer perceptually distinct media forms within the image. Manipulation of the interval between film frames—for example with stop-motion, slow-motion and time-lapse techniques—often overlays the insisted-upon interval between separate media forms at these sites of media layering. Exploiting cinema’s temporal interval in this way not only foregrounds the filmic mechanism, but it in effect stages the cinematic apparatus, displaying it at a medial remove as a spectacular site of difference. In other words, cinema itself becomes refracted through these hybrid media combinations, which paradoxically facilitate a renewed encounter with cinema by reawakening a sensuous attachment to it at the very instant that it appears to be under threat. This particular response to developments in digital technologies suggests how we might more generally conceive of cinema finding itself anew in the contemporary media landscape. The advent of digital media and the perceived danger it has implied for the status of cinema have resulted in an inevitable nostalgia for the unique properties of the latter. In many Japanese films at the digital turn this manifests itself as a staging of the cinematic apparatus, in 1 which cinema is refracted through composite media arrangements. -
Teachers Guide
Teachers Guide Exhibit partially funded by: and 2006 Cartoon Network. All rights reserved. TEACHERS GUIDE TABLE OF CONTENTS PAGE HOW TO USE THIS GUIDE 3 EXHIBIT OVERVIEW 4 CORRELATION TO EDUCATIONAL STANDARDS 9 EDUCATIONAL STANDARDS CHARTS 11 EXHIBIT EDUCATIONAL OBJECTIVES 13 BACKGROUND INFORMATION FOR TEACHERS 15 FREQUENTLY ASKED QUESTIONS 23 CLASSROOM ACTIVITIES • BUILD YOUR OWN ZOETROPE 26 • PLAN OF ACTION 33 • SEEING SPOTS 36 • FOOLING THE BRAIN 43 ACTIVE LEARNING LOG • WITH ANSWERS 51 • WITHOUT ANSWERS 55 GLOSSARY 58 BIBLIOGRAPHY 59 This guide was developed at OMSI in conjunction with Animation, an OMSI exhibit. 2006 Oregon Museum of Science and Industry Animation was developed by the Oregon Museum of Science and Industry in collaboration with Cartoon Network and partially funded by The Paul G. Allen Family Foundation. and 2006 Cartoon Network. All rights reserved. Animation Teachers Guide 2 © OMSI 2006 HOW TO USE THIS TEACHER’S GUIDE The Teacher’s Guide to Animation has been written for teachers bringing students to see the Animation exhibit. These materials have been developed as a resource for the educator to use in the classroom before and after the museum visit, and to enhance the visit itself. There is background information, several classroom activities, and the Active Learning Log – an open-ended worksheet students can fill out while exploring the exhibit. Animation web site: The exhibit website, www.omsi.edu/visit/featured/animationsite/index.cfm, features the Animation Teacher’s Guide, online activities, and additional resources. Animation Teachers Guide 3 © OMSI 2006 EXHIBIT OVERVIEW Animation is a 6,000 square-foot, highly interactive traveling exhibition that brings together art, math, science and technology by exploring the exciting world of animation. -
Stop Motion Animation
C O M M O N W E A L C O M M U N I T Y A R T S Artful Isolation Activities Week Two: Stop Motion Animation Create a captivating short story, by bringing toys and other objects to life. What is Stop Motion Animation? Stop motion is a form of animation that is created by photographing physical objects one frame 1at time, with the objects being moved incrementally between frames. When you play back the sequence of images rapidly, it creates the illusion of movement.* Why Stop Motion Animation? For years, our Northern Artistic Director, Judy McNaughton, has created movement in her artworks using stop motion animation and robotics. You can see some examples on her website. Judy was eager to engage her seven year old son, Xavier, in a creative project during this extra time at home and decided to see where his curiosity might lead him. While watching an animated Lego video, Xavier asked “what makes the Legos move?” This was her chance! They watched DIY animation videos together and found an easy stop motion app for her phone. Xavier was soon immersed, making lego reenactments of his favourite Star Wars scenes to send to family and friends. *https://www.studiobinder.com/blog/what-is-stop-motion-animation/ PHOTOS PROVIDED BY JUDY MCNAUGHTON. ACTIVITY SHEET CREATED BY COMMON WEAL COMMUNITY ARTS IN SASKATCHEWAN. FOR MORE COMMUNITY-MINDED ART ACTIVITIES, PLEASE VISIT US ON FACEBOOK OR EMAIL US AT [email protected] Suitable For: Ages 6+ (the stop motion app is simple to use but young ones will need help at first). -
Animation 1 Animation
Animation 1 Animation The bouncing ball animation (below) consists of these six frames. This animation moves at 10 frames per second. Animation is the rapid display of a sequence of static images and/or objects to create an illusion of movement. The most common method of presenting animation is as a motion picture or video program, although there are other methods. This type of presentation is usually accomplished with a camera and a projector or a computer viewing screen which can rapidly cycle through images in a sequence. Animation can be made with either hand rendered art, computer generated imagery, or three-dimensional objects, e.g., puppets or clay figures, or a combination of techniques. The position of each object in any particular image relates to the position of that object in the previous and following images so that the objects each appear to fluidly move independently of one another. The viewing device displays these images in rapid succession, usually 24, 25, or 30 frames per second. Etymology From Latin animātiō, "the act of bringing to life"; from animō ("to animate" or "give life to") and -ātiō ("the act of").[citation needed] History Early examples of attempts to capture the phenomenon of motion drawing can be found in paleolithic cave paintings, where animals are depicted with multiple legs in superimposed positions, clearly attempting Five images sequence from a vase found in Iran to convey the perception of motion. A 5,000 year old earthen bowl found in Iran in Shahr-i Sokhta has five images of a goat painted along the sides. -
Stop Motion Is an Animation Technique to Make a Physically Manipulated Object Appear to Move on Its Own
STOP MOTION ANIMATION WORKSHOP What is Stop Motion? Stop motion is an animation technique to make a physically manipulated object appear to move on its own. The object is moved in small increments between individually photographed frames, creating the illusion of movement when played as a continuous sequence. A lot of companies opt for CGI nowadays, but stop motion is cheaper and better at displaying textures, which is why directors such as Tim Burton like to use this method. Examples of Stop Motion films “Joyful Skeleton” (1897) https://www.youtube.com/watch?v=uNReoA8BV_Y “Funny Faces” (1906) https://www.youtube.com/watch?v=jjn4T5LlZpI “The Cameraman’s Revenge” (1912) https://www.youtube.com/watch?v=TCQCxk8M0Ls&list=PL9CDBFD1E3BB5750D “The Lost World” (1925) https://www.youtube.com/watch?v=ubdH7FQpZ9A “Jason and the Argonauts” (1963) https://www.youtube.com/watch?v=pF_Fi7x93PY “Star Wars” (1977) https://www.youtube.com/watch?v=cZE_gN4hB44 “California Raisins” commercials (1980s) https://www.youtube.com/watch?v=mkbA3E363So “Sledgehammer” music video (1986) https://www.youtube.com/watch?v=OJWJE0x7T4Q “Nightmare Before Christmas” (1993) https://www.youtube.com/watch?v=xpvdAJYvofI “Fantastic Mr. Fox” (2009) https://www.youtube.com/watch?v=n2igjYFojUo “In Your Arms” music video https://www.youtube.com/watch?v=IOu0DuxFAT0 Making of “In Your Arms” https://www.youtube.com/watch?v=cIH4MJAC2Tg Stop Motion App Keep your concept simple! Every second of a stop motion film requires 24 individual photos. Therefore, a 10-second film requires 240 photos. -
After Effects, Or Velvet Revolution Lev Manovich, University of California, San Diego
2007 | Volume I, Issue 2 | Pages 67–75 After Effects, or Velvet Revolution Lev Manovich, University of California, San Diego This article is a first part of the series devoted to INTRODUCTION the analysis of the new hybrid visual language of During the heyday of postmodern debates, at least moving images that emerged during the period one critic in America noted the connection between postmodern pastiche and computerization. In his 1993–1998. Today this language dominates our book After the Great Divide, Andreas Huyssen writes: visual culture. It can be seen in commercials, “All modern and avantgardist techniques, forms music videos, motion graphics, TV graphics, and and images are now stored for instant recall in the other types of short non-narrative films and moving computerized memory banks of our culture. But the image sequences being produced around the world same memory also stores all of premodernist art by the media professionals including companies, as well as the genres, codes, and image worlds of popular cultures and modern mass culture” (1986, p. individual designers and artists, and students. This 196). article analyzes a particular software application which played the key role in the emergence of His analysis is accurate – except that these “computerized memory banks” did not really became this language: After Effects. Introduced in 1993, commonplace for another 15 years. Only when After Effects was the first software designed to the Web absorbed enough of the media archives do animation, compositing, and special effects on did it become this universal cultural memory bank the personal computer. Its broad effect on moving accessible to all cultural producers. -
Anime and Japanese Uniqueness: the Cultural Authenticity of Japanese Animation
ANIME AND JAPANESE UNIQUENESS: THE CULTURAL AUTHENTICITY OF JAPANESE ANIMATION by David Tyler Crump A Thesis Submitted to the Graduate Faculty of George Mason University in Partial Fulfillment of The Requirements for the Degree of Master of Arts Anthropology Committee: ___________________________________________ Director ___________________________________________ ___________________________________________ ___________________________________________ Department Chairperson ___________________________________________ Dean, College of Humanities and Social Sciences Date: _____________________________________ Spring Semester 2018 George Mason University Fairfax, VA Anime and Japanese Uniqueness: The Cultural Authenticity of Japanese Animation A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts at George Mason University by David Tyler Crump Bachelor of Science University of Mary Washington, 2013 Director: Susan Trencher, Associate Professor Department of Sociology and Anthropology Spring Semester 2018 George Mason University Fairfax, VA © 2018 David Tyler Crump ii ACKNOWLEDGEMENTS I would like to thank my friends, family, and other supporters who have helped me come this far. Specifically, my mother and father who encouraged me to receive a higher education, my older sister Alyssa who attended George Mason with me and helped me adjust to graduate life, and especially to Drs. Trencher, Hemmann, Hughes-Rinker and Schiller, as well as all my university professors, who helped guide me to completing