STOP MOTION ANIMATION

WHAT IS STOP MOTION ANIMATION?

• FIND ME A DEFINITION

• EXAMPLES OF STOP MOTION YOU CAN THINK OF

DEVELOPMENT OF ANIMATION TIMELINE

• WHAT IS A PHENAKISTOSCOPE AND WHO INVENTED IT?

• WHAT IS A ZOETROPE AND WHO INVENTED IT?

• WHAT IS A PRAXINOSCOPE AND WHO INVENTED IT

• WHAT IS A KINETOSCOPE AND WHO INVENTED IT?

DEVELOPERS OF ANIMATION TIMELINE• WHO IS WILLIS O’BRIEN AND WHAT KEY TEXTS IS HE RESPONSIBLE FOR?

• WHO IS RAY HARRYHAUSEN AND WHAT KEY TEXTS IS HE RESPONSIBLE FOR?

• WHO IS LEE HARDCASTLE?

• WHAT IS AARDMAN?

• WHO ARE THE BROTHERS QUAY?

PRINCIPLES OF ANIMATION

• TIME: THE TIME IT TAKES TO MAKE THE ACTION HAPPEN THE NUMBER OF FRAMES YOU NEED TO MOVE THE OBJECT.

• THE FEWER FRAMES, THE FASTER, THE MORE FRAMES THE LONGER

• FOR ACCELERATION INCREASE THE DISTANCE BETWEEN MOVEMENTS, FOR DECELERATION DECREASE THE MOVEMENTS GRADUALLY

• THE RIGHT TIMING IS THE DIFFERENCE BETWEEN LOOKING FROM SIDE TO SIDE, TO SHAKE YOUR HEAD NO

• GRAVITY

• THINGS FALL, THINK OF YOUR FRAME RATE, AND THE FORCE OF THE OBJECT YOU WILL DROP

• PERSISTENCE OF VISION IS A THEORY THAT A STRIP OF STILL IMAGES IN ANY ORDER CAN BE GIVEN THE EFFECT OF ANIMATION IF VIEWED BY THE HUMAN EYE AT A CERTAIN RATE.

• THE HUMAN EYE RETAINS AN IMAGE FOR 1/20TH OF A SECOND, GIVING THE ILLUSION THAT A STILL IMAGE IS ANIMATED

• OVERLAPPING AND FOLLOW THROUGH

• PARTS OF AN OBJECT DON’T ALL MOVE AT THE SAME TIME, YOU HAVE TO THINK ABOUT WHERE THE CENTRE OF GRAVITY IS AND WHAT MOMENTUM THERE IS

• FOLLOW THROUGH" MEANS THAT THE ARM WILL CONTINUE MOVING ‘FOLLOWING THROUGH’ THE ACTION AFTER THE ELBOW HAS STOPPED.

• “OVERLAPPING ACTION" IS THE TENDENCY FOR PARTS OF THE BODY TO MOVE AT DIFFERENT RATES (AN ARM WILL MOVE ON DIFFERENT TIMING OF THE HEAD AND SO ON).

• ARCS & POSES

• MOVEMENT DOES NOT TEND TO BE IN STRAIGHT LINES, BUT FOLLOW CURVES OR ARCS, TO SHOW MORE NATURAL MOVEMENT

• REMEMBER THE POSE IS IMPORTANT IN COMMUNICATING ACTION, THE ANIMATION IS WHAT HAPPENS BETWEEN THE FRAMES

• ANTICIPATION

• A JUMPING FIGURE, MUST BEND ITS KNEES FIRST SO THE AUDIENCE CAN ANTICIPATE WHAT WILL HAPPEN NEXT, THE HEAD MUST URN TO LOOK INTO THE OFF SCREEN SPACE SO WE CAN ANTICIPATE SOMEONE COMING INTO FRAME

• SECONDARY ACTION

• ADDING SECONDARY ACTIONS TO THE MAIN ACTION GIVES A SCENE MORE LIFE,

• A PERSON WALKING CAN SIMULTANEOUSLY SWING HIS ARMS OR KEEP THEM IN HIS POCKETS,

• THE IMPORTANT THING ABOUT SECONDARY ACTIONS IS THAT THEY EMPHASIZE, RATHER THAN TAKE ATTENTION AWAY FROM, THE MAIN ACTION.

EXAMPLES

LOOK AT AN OLDER AND NEWER EXAMPLE OF A STOP MOTION AND PULL OUT TIMECODES OF THEM USING, OR NOT USING THE PRINCIPLES IN AN EFFECTIVE WAY

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