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Home , Adam West, Nick Park, Peter Lord, Plasticine, Steve Box, Stop motion

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animated magic

Myke Bartlett Bartlett Myke

explains how students how explains can draw inspiration from inspiration draw can in order to make their own to make in order

Stop-motion Adventures Adventures Stop-motion Classroom in the Stories

Aardman’s pirates Aardman’s Toy

ISSUE 67 SCREEN EDUCATION ©ATOM 62 but moving aphysical object,frame byframe, seemsenticingly Bringing anillustration to life mightseembeyond most ofus, how asequence wascreated butwe understand the basics. the rest stems from themedium’s simplicity. We mightwonder While partofthispleasure isinthecleverness oftheanimation, his shiny,plastic nose,verges onthemiraculous. as Gromit standing intherain, withcold water drippingfrom motion animationstill seemsatruemarvel; ascene assimple comrades. Inanenvironment awash withspectacle, stop- an affection we’re unlikely to bestow ontheircomputer-based tionably real. We admire thecraftmanship oftheanimators with that isobviously false, ’s somethingthatalsofeels unques- fold inthemapof theworld. While we’re watching something reflect this,asourheroes’ shipisdelayed initsjourney bya . Even thetraditionally animated sequences inPirates There isavery particularpleasure inthetactile nature ofthese Hands-on G as Urchin-Be-Gone spray. plastered withadvertisements for suchquestionable products titled shopsandhotels, while thewallsofVictorian Londonare Pirate hideawayBlood Islandiscrowded withhumorously viewing, asthetinysetsare packed withpunsandin-jokes. is almost too muchbackground detail to take inonasingle real joy isinthelevel ofdetail given to theirminiatures. There with handcrafted plasticine. AswithotherAardman films,the puter animationto tell itstale, themajorityofwork isdone While thefilmmakes useoftraditional, stop-motion andcom- fortune. less. From there it’s offto Londonand,supposedly, fame and him to realise thattheship’s ‘parrot’ Polly mightjust beprice- when anencounter withCharles Darwin(DavidTennant) leads flat broke andisworth apittance, deadoralive. Hisluckturns commanding seven-figure prices ontheirheads,ourcaptain is While hisrivals are raking inoutrageous quantitiesofbootyand whose ambitionto bePirate oftheYear far outstrips hisability. We follow theadventures ofthePirate Captain (HughGrant), ever, setssailfor thehighseas. Pirates! Bandof Misfits( &JeffNewitt, 2012),how- vaguely toy-town version ofaquietEnglishtown. New filmThe coop, while NickPark’s Wallace &Gromit filmsinhabitaquaint, (Peter Lord &NickPark, 2000) been contained, small-scale affairs. Aardman’s stop-motion filmsto date have all (pun absolutely intended), it’s surprisingthat iven theflexibility ofplasticine is confined to the

entertainment –thesilver screen. hands-on playinto somethingthatmimicsotherform of a very early age.Here, we delightinthetransformation ofthis of usengagedin–withBarbies,toy cars oractionfigures –at possible. Really, itfeels like anartistic echooftheplaymost on themiraculous. his shiny, plasticnose, verges with cold water dripping from Gromit standingintherain, marvel; asceneassimple a true animation stillseems with spectacle, stop-motion In anenvironment awash 2008 shortAMatter of Loaf and ing akey momentfrom JerryZucker’s 1990filmGhost(inthe (1963), Wallace ()andPiella()reliv- son’s TheDamBusters (1955)orJohnSturges’ TheGreat Escape Whether it’s long before they graduated from television to thebigscreen. ensured thattheWallace &Gromit filmsfelt like movies to thecinematic.Fleeting references andcomic homages The Aardman filmshave always beenunapologetically indebted Sincere, small-scale flattery (1995) giving a nod to Michael Ander - left: hands-onfilmmakinginpirates; above:wallace andgromit Death) ormerely thefrequently

63 ISSUE 67 SCREEN EDUCATION ©ATOM TEACHING MEDIA From the classic to the comic to the classic From the these homages transform as farce, repeats as history Just part in large As such, their success . into action (or child) of cinema. A novice knowledge on the viewer’s relies (or a but those in the know stunts, the exaggerated might enjoy made ridiculous. at the familiar will titter parent) A from spoofs come of Aardman examples the best Perhaps a classic that itself tweaks – a title and Death Loaf of Matter side of the one runs from British . At one point, Gromit of a sparking bomb. On dispose the other, trying to house to on the other, nuns walk while in a pond, one side, ducks circle literal a surprisingly It’s kittens. carrying the pavement, along (Leslie H Martinson, 1966) movie the camp homage to on a pier, sprints around in which our hero , starring get rid of can’t just that ‘Some days, you camera despairing to a bomb.’ truck clad in Piella in a forklift villainess battles Gromit Later, the climactic sequence the film references mitts. Here, oven (Sigourney 1986), in which Ripley in Aliens (, the help of similar the alien queen with down smacks Weaver) One in particular, in which mitts). equipment (sans oven mimics the sci-fi backlit, affectionately and truck are Gromit . film’s The most obvious reference here is to not one but two Indiana Indiana not one but two is to here obvious reference The most that the stone idol recalls Jones films. The tumbling stone of in the opening sequence Harrison Ford flatten to threatens the bath- 1981), while Spielberg, Ark (Steven the Lost Raiders of daring escape Indy’s from borrow seems to tub rollercoaster 1984), Spielberg, Doom (Steven of the eponymous Temple from - excit an implausibly along ride a mine cart in which our heroes ing set of rails. ’ action sequences occurs towards towards occurs of Pirates’ action sequences notable The most attempt Darwin (and monkey) of the film, as Charles the middle place taking Despite the pirates. from Polly precious steal to chase in an exciting house, there’s of Darwin’s in the confines idol stone as a large flights of stairs, several a bathtub down in hot pursuit. tumbles - is the afore about such sequences impressive What is most sense, been real in a very have, They quality. mentioned tactile (1993), Trousers chase in The Wrong built. The high-speed train shot at no speed at all – the plasticine was actually instance, for There by frame. frame pushed forward painstakingly were stars at play. trickery or no computer is little is no different. Here, Queen Victoria is recast as a Bond as a Bond is recast Queen Victoria Here, Pirates is no different. lair and improbable, with a gadget-filled villain, complete mimic big-budget The action sequences transport. grandiose the duel to airships, from dangle our heroes blockbusters: spinning propellers. towards (near-) death and tumble Hitchcockian cinematography, these have sought to sought to have these animations cinematography, Hitchcockian big-hitters. celluloid the from cues their – steal often and – take

ISSUE 67 SCREEN EDUCATION ©ATOM 64 65 ISSUE 67 SCREEN EDUCATION ©ATOM CAPTION start making stop-motion

The Aardman homages offer a template for a useful class activity in which students can use available technology to create a comedy version of a sequence from a film. While there is scope for the more creative students to craft their own models, it would be just as easy to use existing toys and play sets. The stunning parkour sequence from the opening of Casino Royale (Martin Campbell, 2006), for example, could be recreated using either Lego or dinosaur toys (or a combination of both). The crucial part of the activity will be in the planning and execution of an animation that clearly references filmic style and technique.

1. Preparation

Aardman DVDs provide a rich source of inspi- ration when it comes to creating stop-motion 2. Equipment animation. The behind-the-scenes feature on A Students will need access to video cam- eras, digital still cameras, microphones, Matter of Loaf and Death is particularly useful in some blank DVDs and a computer. There is this regard, but similar features exist on Wallace a range of software available to transform & Gromit in the Curse of the Were-Rabbit (Nick a collection of still images into a movie, Park & , 2005) and, looking further but Apple’s iMovie might offer the simplest afield, on the DVD of ’s Fantastic route. (Windows users might try Blender, Mr Fox (2009). a free open-source animation and graphic manipulation program.) Students can view these documentaries in tandem with the features they discuss. They could also view snippets from the films refer- enced in Aardman films – specifically Aliens, Batman and Ghost. Where does the comedy come from in these 3. Storyboarding homages? Is it merely imitation? How can Students will need to create two storyboards. First, they something serious should create a storyboard of their chosen sequence, be made to look translating the shots used in, say, the Casino Royale ridiculous? chase into a series of sketches. This done, students can think about how they will recreate this sequence to humorous effect. Who will their characters be? Will they include references from other films? Will there be any dialogue? Will they be using toys or creating their own plasticine models?

If students are creating their own models, they should do so at this stage. They should try to keep the models simple, though faces should have a few different features capable of movement and expression – eyes, mouth, ears, nose, eyebrows. The bigger these features, the easier they will be to animate successfully.

Armed with a script, students can complete their second storyboard. This time, they are planning shots for their own animation. keen-eyed viewer. is anexcellent opportunityto includevisualgagsfor the a computer), perhapswithafew additionalprops. This simple, two-dimensional sets(eitherbyhandorusing that students includesets.Studentsshouldcreate their attention to background detail, soitisimportant As stated above, oneof the joys ofAardman filmsis 5. Building

4. Acting out the sequence The documentary about A Matter of Loaf and Death – How They Donut – reveals an interesting addi- tional step before starting the animation process. We see director film himself acting out scenes in order to provide a guide for movement and expression. Students can use a video camera to perform a live-action version of their scene. This should be a minimalist affair – no costumes, props or sets. Any movement should be mimed, removing any temptation for students to record themselves attempting dangerous stunts.

different locations. different

individual frames and the movie file should be kept in at least three three least at in kept be should file movie the and frames individual

they save regularly and back up, back up, back up. Copies of the the of Copies up. back up, back up, back and regularly save they

will be able to reshoot any unsatisfactory sequences. Make sure sure Make sequences. unsatisfactory any reshoot to able be will

ment. Students should view their work in iMovie regularly, so they they so regularly, iMovie in work their view should Students ment.

- equip the access to able are students if time, class of outside ued

- contin be perhaps should and sessions several take will Shooting

shows how this can be done to great effect. great to done be can this how shows How They Donut They How

during a scene to create , tracking or dolly shots. Again, Again, shots. dolly or tracking zooming, create to scene a during

Advanced students should experiment with moving the camera camera the moving with experiment should students Advanced

if they need to extend these pauses.) these extend to need they if

will be able to copy and paste frames in during the editing process process editing the during in frames paste and copy to able be will

twelve to sixteen frames before any movement begins. (Students (Students begins. movement any before frames sixteen to twelve

at the beginning and end of sequences. This involves shooting shooting involves This sequences. of end and beginning the at

gauge speeds. Students should also be careful to include a pause pause a include to careful be also should Students speeds. gauge

dummy sequence in which an object is moved around the set to to set the around moved is object an which in sequence dummy

time their sequences correctly. It’s a good idea to shoot a short short a shoot to idea good a It’s correctly. sequences their time

Some experimentation will be required in order for students to to students for order in required be will experimentation Some

for this task. this for

sixteen frames per second will probably be more than adequate adequate than more be probably will second per frames sixteen

motion. Realistically, students won’t need that many – twelve to to twelve – many that need won’t students Realistically, motion.

four individual shots are required to create a seamless second of of second seamless a create to required are shots individual four

a speed of twenty-four frames per second, which means twenty- means which second, per frames twenty-four of speed a

This process is simple, if time consuming. Film typically runs at at runs typically Film consuming. time if simple, is process This

tal camera, students are ready to start filming their sequences. sequences. their filming start to ready are students camera, tal

- digi a and models some set, a script, a storyboard, a with Armed 6. Shooting Shooting 6. 67 ISSUE 67 SCREEN EDUCATION ©ATOM

elements of each take. each of elements

easily edit together the best best the together edit easily

Audacity, students will be able to to able be will students Audacity, A few takes might be needed. If using using If needed. be might takes few A 10. Exporting film should be exported. the completed, Once The simple. this very makes Again, iMovie or the iTunes DVD to be ‘shared’ can project Students should burn the finished library. of disc and submit it with copies to product their script and storyboards. premiere. is the grand now All that remains earned a special (hopefully) Students have but both red work, all that hard after occasion optional. are and popcorn carpet

9. Adding final elements With the visuals edited and the soundtrack recorded, it’s time to piece it all together. In addition to dialogue, students will need to source (or record) sound effects and music. These can easily be dragged across to the timeline from iTunes or another folder. If students desire, they can also add titles and credits at this stage using the

options iMovie offers.

sequence in order to ensure that timing is correct. correct. is timing that ensure to order in sequence

Dialogue should be recorded while watching the the watching while recorded be should Dialogue

phone into the computer. the into phone

- micro a plugging involve will options Both Audacity.

can record dialogue using a free program such as as such program free a using dialogue record can

directly into the movie file. Alternatively, students students Alternatively, file. movie the into directly

(or your chosen software) to record the dialogue dialogue the record to software) chosen your (or

couple of ways. The easiest might be to use iMovie iMovie use to be might easiest The ways. of couple

set about recording dialogue. This can be done in a a in done be can This dialogue. recording about set

Once students are happy with a sequence, they can can they sequence, a with happy are students Once 8. Recording dialogue Recording 8. The editing process can begin while filming is still taking taking is still filming while begin can process The editing suc- idea of how a good have will That way, students place. improve can they been and how shoots have their cessful - them the encourage It will also give sequences. future achieve. hope to of what they be bolder in terms ment to begin editing way to being used, the easiest If Macs are iPhoto. into the camera from import the image files is to naming the film and the scene album, photo a new Create PC users, it. (For into the pictures and drag in question, the appropriate to the camera from the files copy simply folder.) project. a new and create Then open iMovie see the album to should be able You can’t, If you in iPhoto. created you and drag icon camera hit the little the project to the album across able will be you There window. frames. see the individual to all in the are they sure Make order. correct to video tutorial An excellent is details help with the fiddly at ‹http://www.youtube.com/ I watch?v=Ioo4omMVNbM›. this to showing recommend editing begins. before students worth are steps important Two First, however. mentioning now, (all the full frame show to iMovie tell play each it to Then, tell of the picture). 0.3 short time (probably a very for frame can Both of these instructions 0.5 seconds). to and photos all of the imported by selecting be given that appears. clicking on the settings icon 7. Editing

ISSUE 67 SCREEN EDUCATION ©ATOM 68 adult novel Fireadult novel publishedinAugust2012. was intheSea Myke Bartlett isafreelance writer andformer teacher. Hisyoung to pickupacamera. vide thenecessary inspiration to encourage anew generation of directors. Assuch,ThePirates!Bandof mightjust Misfits pro - a form ofanimationthatcan beeasily recreated byamateur of thepower ofstop-motion. Atonce simple andingenious,it’s Aardman’s latest animated adventure isanenjoyable reminder Moving on • -motion-animation-using-imovie/ http://byterevel.com/2011/07/01/how-to-make-a-stop A guideto usingiMovie (slightly outdated butstill useful): blendersequencetutorial.html http://www.kramerklaymation.bravehost.com/ A videotutorial on usingBlender for stop-motion: http://www.youtube.com/watch?v=Ioo4omMVNbM A videoguideto using iMovie for stop-motion: http://audacity.sourceforge.net/ Audacity (for MacorPC): http://www.apple.com/au//ilife/imovie/ iMovie (for Mac): http://www.blender.org/download/get-blender/ Blender (for PC): Useful links

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